• Korean Association of Arts Management
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• no.54
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• pp.33-57
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• 2020

This study aimed to empirically analyze the effect of the appreciation of artwork in the workplace on creativity. To this end, two virtual workspace images with and without artwork were created, and an online survey was conducted with office workers. A regression analysis was performed on the results to investigate whether and how much the appreciation and recognition of artwork was effective for the creativity. As a result, among the factors of recognition according to the appreciation of artwork, "intellectual development" and "thinking" showed positive effects on the five sub-factors of creativity at work, such as original flexibility, alternative problem-solving skills, pursuit of adventure and freedom, individual independence, and exploratory immersion. Unlike most previous studies, however, "understanding" had a negative effect on original flexibility. In conclusion, it was found that some of the factors of the appreciation and recognition of artwork had a positive effect on creativity at work. This study provides implications that the appreciation of artwork in the workplace is effective for improving creativity at work and that it is important for each company to develop a streamlined approach based on its goal of pursuing a creative environment. In addition, it is expected that this study will contribute to the widespread use of artwork sharing services at workplaces as well as encouraging more empirical studies to be done on the effect of the services.

• Science of Emotion and Sensibility
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• v.23 no.1
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• pp.41-56
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• 2020

This study suggests multisensory interaction techniques to help visually impaired people appreciate and understand artworks through non-visual senses such as tactile, auditory, and olfactory senses. A user study was conducted on the basis of a qualitative interview about the experience of appreciating artwork through the multisensory interaction system to visually impaired people so as to verify the development of the interaction techniques. The user test shows that the multisensory interactions in artwork generally not only help them appreciate and understand it but also give them satisfaction through artwork appreciation. However, it also indicates that some multisensory interactions caused the visually impaired people confusion and could not be perceived during the appreciation. On the basis of these outcomes, implications in this study are as follows. This study has contributed to providing specific development guidelines and indicators of non-visual multisensory interactions as a technical alternative to improve accessibility to cultural and artistic activities for the visually impaired. Furthermore, this study is expected to contribute to building a technical background, which can provide comprehensive sensory experiences with not only blind people but also non-blind people such as children and the elderly through universal interaction techniques beyond existing visual-oriented fragmentary experience.

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.447-457
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• 2010

Mathematical principle is present in artwork or architectural building. It is important for middle school students to find these mathematical principles in artwork. But it is difficult to achieve original purpose of art education through student activity that only looks for mathematical principle present in artwork and architectural building. Thus, it is necessary for students to have activities to find mathematical principle in artwork for themselves through artistic experience and appreciation of artwork and to create, appreciate and express new artwork to which they apply the mathematical principle. In this article, I researched a couple of artwork or architectural buildings from this point of view in which mathematical principle is present. I also developed hypothetical teacher activities and student activities for program by providing artwork of Escher in which mathematical principle is present as an example.

• Science of Emotion and Sensibility
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• v.20 no.3
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• pp.151-168
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• 2017

Current research aimed to demonstrate a way to enhance the aesthetic experience of the general public while appreciating contemporary art via online platform. Contemporary art is highly complicated and are avoided by the general public. Meanwhile, previous research confirmed that external information can lead to better aesthetic experience and appreciation of the artwork. Therefore, current research hypothesized that provision of explicit information may enhance the appreciation of contemporary artworks and aimed to demonstrate which phase of the cognitive process from Leder et al. (2004) profits from the aid of written information. Experimental environment reproduced online curating platform to reflect the current trend on exhibition. In experiment 1, subjects were presented with written information and reported how well they understood the artwork, and their willingness to visit the artwork in real life. Results revealed that written information had a positive effect on overall appreciation. Further analysis discovered a full mediation between information comprehension, artwork comprehension, and willingness to visit. In experiment 2, ARS questions and an interactive interface were added. Results indicated that information enhanced comprehension and intention to visit the artwork. Expertise, self-reference, and artistic quality which belong to later stages of Leder et al. (2004) model, acquired higher scores on information conditions. In sum, the current research illustrated clear effects of explicit information in inducing better aesthetic experience and cognitive process of contemporary artworks in online environment.

• Journal of Digital Convergence
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• v.20 no.2
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• pp.57-62
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• 2022

This study was conducted with the purpose of listening to the explanations of artworks in the non-face-to-face class and confirming the learner's feelings as a result of the class. The proposed system listens to the explanation of the artwork, inputs the learner's emotions with a dedicated key, and expresses the result in music. To this end, the direction of the non-face-to-face art appreciation class model using the emotion key was set, and based on this, a system for non-face-to-face art appreciation was constructed. The learner will use the 'smart device using the emotion key' proposed in this study to listen to the explanation of the artwork and to input the emotion for the question presented. Through the proposed system, learners can express their emotional state in online art classes, and instructors receive the results of class participation and use them in various ways for educational analysis.

• Review of Culture and Economy
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• v.21 no.1
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• pp.85-104
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• 2018

The studies related to the price of artworks have focused on how factors that are determined on production level, such as artists and the artwork materials of the studies, affect the artwork prices. As 'Dansekhwa' is in the spotlight within local Korean art auction matket, this study would like to analyze the trend of the price changes of 'Dansekhwa' with its growing popularity among the public. We have estimated the price changes based on 4,199 auction data of 20 artists with top 20 auction prices selected by the Korean Art Price Appraisal Association, between 2005 and 2016. Also, in order to compare and analyze the price changes of the 'Dansekhwa' products, we have classified the 20 artists into groups of Dansekhwa and non-Dansekhwa. Starting from 2013, when Dansekhwa has first appeared, we applied the Difference in the Difference model(DiD) to estimate the result. As a result, the difference between two groups showed 71% of price difference due to the increase in popularity of Dansekhwa. This result proves that recognition level has an important role for increase in price of an artwork. Moreover, the fact that the formalized style of Dansekhwa has linked to the appreciation of the price means that production of information could play an essential role in growth of art market. As recognition level of Korean artists and their artworks is considerably low within the local art market, putting in the effort to increase the popularity of artworks among the public might be a helpful way to magnify the potential demand.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.297-302
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• 2022

Contemporary viewers familiar with the digital space show their desire for self-expression and use voice, text and gestures as tools for expression. The purpose of this study is to create interactive art that expresses the narrative uttered by the viewer in the form of a collage using the viewer's figure, and reproduces and expands the story by the viewer's movement. The proposed interactive art visualizes audio and video information acquired from the viewer in a text collage, and uses gesture information and a natural user interface to easily and conveniently interact in real time and express personalized emotions. The three pieces of information obtained from the viewer are connected to each other to express the viewer's current temporary emotions. The rigid narrative of the text has some degree of freedom through the viewer's portrait images and gestures, and at the same time produces and expands the structure of the story close to reality. The artwork space created in this way is an experience space where the viewer's narrative is reflected, updated, and created in real time, and it is a reflection of oneself. It also induces active appreciation through the active intervention and action of the viewer.

• (The) Research of the performance art and culture
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• no.43
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• pp.203-228
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• 2021

This thesis examines the play education method shown in the elementary school textbook 'Enjoy Play'. If the educational methods of the curriculum other than plays were presented in the order of 'Understanding play - Appreciation of Works - Creation of Works', the method of drama education is presented sequentially in the order of 'Understanding play - Creation of Works - Appreciation of Works' in the order of 'Understanding play - Artwork - Appreciation' have. Even if such a curriculum considers the study linked to the subject of 'Plays', students may not feel the 'burden' of 'creation', and by simplifying the understanding of 'spoken language', it is rather the characteristic of 'Korean language'. It may also make it difficult for students to feel the attraction. In addition, empathy through the conflict situation of the play or comparison with the actual conflict is mainly presented through the translation of foreign works or the expression of a fairy tale and fantastic world that is far from reality, so the burden of inferring the right life problems can be confirmed. Theatrical expressions and plays and plays learned through textbooks are partially different depending on the educational goals to be achieved. The result of this study is that the course of textbooks for elementary and upper grades may correspond to the problem of expressing 'Plays', but it is regrettable in leading students to think about ways to solve life problems in detail through 'Plays'. It is also necessary to emphasize the importance of expression that makes students realize how to express themselves autonomously in the way of expressing their feelings, but on the other hand, on the other hand, it is necessary to share empathy with feelings first, understand these feelings, Therefore, it was suggested that training to infer expressions and emotions by learning individual expressions through methods of expressing emotions and a process of educating students to voluntarily accept shared emotions are also necessary. Sharing and expressing emotional emotions through 'play', and participation through cooperation and division of labor through the process of performing.

• The Journal of Art Theory & Practice
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• no.2
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.151-167
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• 2016

Conventional social science typically regards the idea of a 'mountain' as part of 'nature' and a physical environment existing separately from, or prior to, human society and culture. However, in Korea, which is 70% mountainous land, the 'mountain' is part of a unique 'social nature'. This research develops the idea that in this context the mountain is a social nature and a cultural landscape which are tied heavily to the idea of travel. The article interrogates why the scenic beauties of Mt. Kumgang have been perceived and conveyed through multiple generations since the Chosun Dynasty period. Focusing on Mt. Kumgang, this article illustrates how strongly people have held dreams of mountain travel, for the whole life-time. Travel writings(or accounts of trips to the mountain) and artwork have played a particularly important role in creating Mt. Kumgang's reputation as the most beautiful mountain in the country. At the same time, the access to the mountain was often a dangerous adventure, with many travelers facing hunger and extreme physical challenges. As portrayed in writings and artwork, the overall effect of these dynamics was the creation of a socionatural place of striking beauty that even seemed to have mystical or magical fantasy. According to Confucian ideals, full appreciation of nature and its beauty was key to understanding the logics of the universe and to achieving a high moral standard, which contributed to decide to leave for the mountain as well. The essays, poems, and paintings of Mt. Kumgang since the Chosun Dynasty period that portrayed the mountain's beauty collectively served to produce the mountain as a socionatural landscape engendered with potent place-myths, important historical meaning, and strong aesthetic associations. Thus, the travel to the mountain seemed never completed over until travelers had completed various artistic representations to record and to memorize what they'd done and seen in Mt. Kumgang, which had been performed for the strong purpose of social sharing of the real the mountain's beauties and itinerary.