• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.154-175
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• 2020

Most Korean Buddhist paintings from the late Joseon period were produced through collaborative projects (bulsa) between clans of Buddhist monks and monk artists (hwaseung), in which the monk clans would select themes and iconography for works that would then be produced by the artists and their school. Thus, any attempt to understand the Buddhist paintings of this period must consider not only the stylistic characteristics of the monk artists, but also the conditions at the respective temple at the time of production. Applying this methodology, this paper examines the collaboration between the Buhyu monk clan and the monk artist Uigyeom and his fellow artists (hereinafter, the "Uigyeom School") that took place in Honam (湖南) and surrounding areas in the eighteenth century. In particular, the paper reveals the strong influence that the Buhyu clan exerted on paintings that the Uigyeom School produced in 1724 and 1725 at Songgwangsa Temple, the clan's main temple. Following the paintings for Songgwangsa Temple, the Uigyeom School actively participated in similar projects at regional temples under the auspices of the Buhyu clan in Honam, Hoseo (湖西), and Yeongnam (嶺南). Consequently, the Buhyu clan granted Uigyeom several honorable titles-including "Hoseon" (毫仙), "Jonsuk" (尊宿), and "Daejeonggyeong" (大正經)-that were rarely conferred to a monk artist. Such acclaim helped Uigyeom's style of Buddhist painting to become widespread throughout the three southern provinces of Korea. The paintings for Songgwangsa Temple exemplify how the Buhyu clan and Uigyeom School collaborated to visualize the thoughts and philosophies of the Buhyu clan. For the Uigyeom School, this project served as the foundation for building the reputation and esteem of Uigyeom, who became one of the most esteemed and influential monk artists of the late Joseon period. As such, the paintings created for Songgwangsa Temple in 1724 and 1725 have great significance not only for Korean Buddhism, but also for art history in general.

• School Mathematics
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• v.15 no.1
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• pp.159-177
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• 2013

This study is a case study of STEAM education. We have developed teaching and learning materials, suggested teaching method, and analysed the result for exploring the potential and effect of STEAM. The content of this study is based on the history of mathematics. Science (S) is related to the 24 divisions of the year, the height of the sun, the movement of heavenly bodies. Technology (T) is related to the exploration with graphic calculators. Engineering (E) is related to design sundial and research on the design principles. Art (A) is related to literature review about mathematical history, the understanding of the value of the mathematics. Mathematics (M) is related to the trigonometric functions. We have considered that Project-Based Learning is proper teaching and learning for STEAM education, we have designed the STEAM PBL and analysed the results focused on the developing integrative knowledge, mathematical attitude including mathematical value, the competencies of 21 century. The result of this study is as follows. We find that STEAM education activates students' collaboration, communication skills and improves representation and critical thinking skills. Also STEAM education makes positive changes of students' mathematical attitudes including the values of the mathematics.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.1
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• pp.379-388
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• 2018

This study aims to analyze the causes of conflict between street performing subjects and identify methods to induce their collaboration in promoting a creative city. This study proposes preventive mechanisms after identifying potential problems in performances on the streets of Jeju, which aims to become "the island of culture and art". To this aim, the type and relationship between the subjects of conflict, characters of conflict, solutions, extent and role of tolerance, responses of the subjects, and type of conflict management employed were examined and analyzed. We employed an in-depth interview method involving cases of conflict occurring during street performances in Jeju. were categorized into 6 types. First is conflict resulting from the lack of facilities. Second is conflict caused by non-designated performance venues. Third is conflict due to exclusive ambiance. Fourth is conflict resulting from direct engagement by neighboring residents. Fifth is conflict between residents and police during performances. Sixth is conflict by lack of definite relationship with relevant institutes. To systematically resolve these conflicts, we propose the following management methods: (1) behavioral approach of pretraining through a registration system; (2) establishment of busking zones and allocation after registration; (3) training of facilitators to manage street performances and extended roles; (4) establishment of standards for street performances through the systematic approach of ordinance; (5) training to secure tolerance of residents; and (6) simplification of deliberation process by building a collaborative system among institutes.

• The Korean Journal of Archival Studies
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• no.63
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• pp.145-165
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• 2020

, in collaboration with Mary Kelly, Kay Hunt and Margaret Harrison, tells the story of workers in the 1970s. Since the late 1960s, the world has undergone many political and social changes, and social movements have been active to protect the socially underprivileged, including women, children and workers. This phenomenon led to the diversification of the collection of the general public, the community, and the minority, and the expansion of the artist's political remarks and themes in the art world. , completed in conjunction with these social issues, surveyed and recorded the reality of workers in a factory in London and produced it as a artwork. is a collaborative work of three artists, a record of workers in the 1970s, and a record of the labor situation, factory, and even the history of the region. Therefore, this study examined the methods and features of , which dealt with the lives of women workers in the 1970s, based on social conditions.

• Journal of Digital Convergence
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• v.17 no.2
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• pp.373-379
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• 2019

This study examines the process and scope of visual directing through the case of SM Entertainment, and explores the role of visual directors. As a result of the case study, SM created the visual directing team composed of art director and visual designers within the creative headquarters and was actively introducing visual directing for the development of idol. The visual directing process of SM, which is being developed as a part of the star marketing, consists of analyzing the environment in marketing strategy, establishing marketing strategy related to idol, setting up target image per artist, and finally planning and managing the visual directing project. The visual director in SM is required to have creative talent, logical persuasion, information analytical ability, visual expression ability, and field application ability. SM also applies visual directing accumulated from idol singers to SM business areas such as MD product design and production, product composition and designer collaboration, and SM town COEX artium. This paper have significance in attracting visual directing to the academic field.

• Journal of The Korean Association For Science Education
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• v.42 no.5
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• pp.543-555
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• 2022

This study aims to identify the trends in 'Aesthetic Science-Education' research through bibliographic analysis and provide future implications for research in this field. To this research, 100 studies were extracted using the search function of the Web of Science provided by Clarivate Analytics. Detailed bibliometrics was analyzed using the Bibliometrix package of the R program. As a result of the analysis, the average number of papers increased from 1993 to 2022, and academic journals in which related papers were published were evenly distributed locally. As a result of keyword analysis, papers with top citations, author collaboration networks, and literature co-citation networks, Aesthetic Science-Education could be classified as inducing aesthetic experience by integrating art in science education, and categories using 'formalist aesthetic' and 'emotional response'. The implications derived from this study are as follows: first, the aesthetic aspects of science should be actively studied to emphasize 'Agency' and 'Active Learning' in future science education. Second, it is necessary to develop a new approach to science education by further utilizing the 'formalist aesthetic' of science in science education. Third, the aesthetic aspect of science can change the perception of the Nature of Science of teachers, pre-service science teachers, and students. Fourth, it is necessary to discover implications for utilizing aesthetic aspects in science education through extensive research on the aesthetic aspects of science for teachers, students, and pre-service teachers. This study is meaningful because it provides an overview of the 'Aesthetic Science-Education' research to realize the above implications.

• 지역과문화
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• v.7 no.4
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• pp.49-68
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• 2020

The study of complementary medicine for the mental illness of modern people has been made up of academic fields. Psychotherapy, art therapy, literary therapy and dance therapy are among them, but these non-integrated studies are extremely limited to apply to reality. Collaboration with the medical community seeking supplementary measures after drug treatment is also a problem, and it is even more difficult to institutionalize them in a policy way. In response, the study suggested a shift to a space-oriented treatment paradigm by studying the value of space that most treatment programs value. Based on the theory of integrated literature therapy developed in Germany and introduced into Korea, the Tetra system was applied to one of Korea's cultural heritages. And I presented a sample of how to program the characteristics of the old house space. Kwon Seong-baek old house in Andong was considered a representative space and analyzed. As a similar case, we looked at the Healian Sun Village, the Knife Village in Germany, and the Temple Stay of Bongeunsa Temple to find out the actual conditions of space utilization. Accordingly, space treatment programs such as walking, writing poems, reading poems, and writing letters were presented by analyzing old houses with a Tetra system. This is significant as the first study to incorporate spatialization and placeability into the program.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.1-12
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• 2019

Based on the capabilities of smartphone cameras which have developed rapidly in recent decades, coupled with and the global market penetration rate, it will study the possibility of various international exchanges through smartphone filmmaking. This aims to achieve a civilian-oriented cultural exchange, instead of simply providing capital-oriented exchanges and film production education. The Smartphone Film Workshop was held as an auxiliary event of the Korea-Vietnam Film Festival, which ran from November 17 to 22, 2017. The three-day workshop, which took place within the festival period, drew attention for its international collaboration project between Korean film directors and Vietnamese film students. The researcher conducted practical-based research while participating as a mentor at this workshop. A step-by-step approach to the entire process of production and post-production was administered, including workshop team composition, scenario, and pre-production in Korea such as shooting equipment, schedule, completion of local works, and screening. Through an analysis of exchange cases at international workshops, we will use trial and error as ways to improve and consider the results of cultural exchanges and the effects of future expectations. Taking this empirical case study into account, we anticipate more active international exchanges through the smartphone workshops.

• Trans-
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• v.15
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• pp.81-104
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• 2023

This paper analyzes the danmu phenomenon with the concept of participatory culture proposed by Henry Jenkins. Unlike other comments, Danmu is a function that allows users to post anonymously while watching a video, and comments posted at that time are immediately displayed on the screen and can be viewed by other viewers. The service was first launched by Niconico. In this paper, the danmu phenomenon in the Chinese video platform Bilibili is analyzed by focusing on three aspects. First, in terms of creative sharing under collective intelligence, we explore how users create their own creations and share them with other users through danmu. Second, in the collaboration model under public participation, the method and meaning of collective cooperation through users' interaction is dealt with. Third, in terms of financial support of commercial capital, the influence of danmu videos to create commercial profits is analyzed as a case. In addition, the negative aspects and challenges of participatory culture in Bilibili are analyzed. Negative aspects such as participation gap, copyright infringement, excessive use of danmu and problems of anonymity were reviewed, and major challenges to realize the potential of danmu as a participatory culture were suggested. This paper comprehensively analyzes danmu using research methods such as literature review and case studies, and through this, tries to derive insights on how participatory culture and danmu interact and evolve in modern society. Danmu, as a participatory medium, is an important tool that promotes individual and collective creation and interaction, and is pioneering a new boundary between the media industry and its users.

• (The) Research of the performance art and culture
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• no.42
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• pp.233-256
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• 2021

The purpose of this article is to understand the characteristics and meanings of the Hwanghae-do Gutchum, or shamanic ritual dance. First, the characteristics of the Hwanghae-do Gutchum are summarized as follows. The regular dances that appear in all pieces of Gutgeori or the tune of Gut of the Hwanghae-do Gutchum feature Geosangchum, followed by domu and heojeonmu in the sequential order. The accompaniment rhythms are Geosang rhythm, Chum rhythm, and Yeonpung rhythm. The dance featuring mugu, or shaman implements held on shaman's hand as part of the Hwanghae-do Gutchum, which symbolizes the characteristics of deities, is the same as domu aligned with the dance rhythm and the whirling dance aligned with the Yeonpung rhythm. The name of mugu, mubok (shaman clothing) and/or deities may be used as the name of Gutchum but there is no originality of Gutchum. The Beokgu Chum and Samhyeon Chum as part of the Hwanghae-do Gutchum use Beockgu Jangdan and Samhyeon Jangdan, which deserves to have their originality acknowledged. Hwanghae-do Gutchum is closely related to the rhythm. The harmony of janggu player and a female shaman is essential in practicing the Hwanghae-do Gut. If a janggu player fails to perform to properly support the gut practice of a female shaman, the shaman is not able to proceed with a smooth practice and causes confusion. On the other hand, if the gut performance of a female shaman fails to catch up with the performance of janggu, the gut becomes plain and simple at best. Janggu is the single most important element that determines the success or failure of the Hwanghae-do Gutchum. A female shaman takes the harmony and collaboration with a janggu player so seriously that she is willing to reschedule the practice of gut if its schedule does not match that of the janggu player. The Hwanghae-do Gutchum is largely dependent on gyeolrye. However, the difference between the chum and the rhythm caused by gyeolrye has disappeared due to the intangible cultural assets. That is, designating an intangible cultural asset has resulted in eliminating all distinctive characteristics of Hwanghae-do Gutchum. With the distinction of gyeolrye becoming vague, they have lost interest in the genealogy of gut they have learned. It is no longer gyeolrye but the intangible cultural property system that serves as an important factor to distinguish chums.