• Title/Summary/Keyword: Audience area

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A case study on active aging policies and programs of middle-aged and elderly people at The Seoul50Plus Foundation (중장년층의 활동적 노화 정책 및 사업 연구: 서울특별시50플러스 사례를 중심으로)

  • Joo, Yong-kook;Shin, Min-ju
    • 한국노년학
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    • v.40 no.2
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    • pp.269-289
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    • 2020
  • The purpose of this study was to analyze the policy and programs of the Seoul50Plus Foundation and to propose policies and programs to promote active aging of middle-aged and elderly people. A single case study was utilized as a research method. The analysis framework of case was approached with four frameworks: the context of policy and program, ideology-goal analysis of policy and program, supplier and customer analysis of policy and program, and process and domain analysis of policy and program. The analysis data included the homepage content of the Seoul50Plus Foundation, related 50+ policy and program data, active aging research papers at home and abroad, and presentation and meeting materials. The results of the research showed that the policy and program background and environment were essential elements for responding to environmental changes in the aging society. In terms of the philosophy-goal, job creation, social participation, and approach to life design were systematically carried out for the ideology of 'creating a new life vision' and promoting active aging. In terms of subject-target, the subject of policy implementation is systematically composed of three stages: 50+ foundation, 50+ campus, and 50+ center. The target was limited to 50+ generations(age 50~64) and had a problem that is limited to applicants. In the process-area analysis, programs such as educational support, work and entrepreneurship support, counseling information, and new-age cultural creation activities were designed to increase added value according to the characteristics of the middle-aged people. In conclusion, the future Seoul50Plus Foundation's policy and lifelong learning programs need to be systematically promoted through cooperation with businesses and universities, expanding the target audience, matching the characteristics of the middle-aged and elderly, and linkage among programs.

Exploring Meaning for Change of Social Awareness of Art Activity (예술활동의 사회적 인식변화를 위한 의미 탐색)

  • Seo, Sang-Gyu;Oh, Kwang-Suk;Sin, Dae-Sik;Hong, Sea-Hee;Sung, Gun-Jae;Jung, Ha-Ni
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.5
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    • pp.167-173
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    • 2019
  • This study aimed to point out the social meaning of acting and art and the change of perception according to the time change. The research method was based on qualitative research through literature review. Based on the findings of this study, the following conclusions should be made. Acting is an art directly linked to the life of an individual. Therefore, the life of an individual is an activity that sublimates his or her life into art through acting. Every activity that we do in our daily life is acting, which is directly related to our talents. In other words, a talented person is recognized as a good actor, and a person with a lack of talent plays the role of an extra person. However, talent is influenced by effort and is also influenced by a given environment. That is, an individual's talent is not fixed but can be changed according to the situation. Education is the area that deals with the possibility of changing these talents. Education has been operating in a variety of ways, but with regard to acting, it has long been centered on apprenticeship education. However, as the 20th century began, systems gradually began to emerge, and in recent years, countries have developed into different educational systems. Therefore, it is necessary to practice the development and operation of various education programs so that the acting and the art are naturally applied in everyday education process and can be applied in daily life.

Digital painting: Image transfonnation, simulation, heterologie and transfonnation (현대회화에서의 형태와 물질 -Digital Transfiguration에 관한 연구-)

  • Jeong, Suk-Yeong
    • Journal of Science of Art and Design
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    • v.10
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    • pp.161-181
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    • 2006
  • The words which appeared in my theoretical study and work are image transformation to digital painting, simulation, heterologie and transfiguration, etc. Firstly, let's look into 'digital era' or 'new media era'. Nowadays, the image world including painting within the rapid social and cultural change, which is called as digital era, is having the dramatic change. Together with the development of scientific technology, large number of events which was deemed to be impossible is happening as real in image world Moreover, these changes in image world is greatly influencing to our life. The word which compresses this change of image world and shows is 'digital'. Digit, which means fingers in Latin, indicates separately changing signal, and to be more narrow, it indicates the continual signal of '0' and ' 1' in computer. The opposite word is 'analogue'. As analogue is the word meaning 'infer' or 'similarity', it indicates the signal or form which continuously changes along the series of time when it is compared to digital. Instead of analogue, digital is embossed as a major ruler along the whole area of our current culture. In whole culture and art area, and in whole generalscience, digital is appearing as it has the modernism and importance. The prefix, 'digital', e.g. digital media, digital culture, digital design, digital philosophy, etc, is treated as the synonym of modernism and something new. This advent of digital results the innovative change to the image world, creates the new beauty experience which we could not experience before, and forecasts the formation of advanced art and expansion of creative area. Various intellectual activities using computer is developing the whole world with making the infrastructure. Computer in painting work immediately accomplishes the idea of painters, takes part in simulation work, contingency such as abrupt reversal, extraction, twisting, shaking, obscureness, overlapping, etc, and timing to stimulate the creativity of painters, and provides digital formative language which enables new visual experience to the audience. When the change of digital era, the image appeared in my work is shown in 'transfiguration' like drawing. The word, 'transfiguration' does not indicate the completed and fixed real substance but indicate endlessly moving and floating shape. Thus, this concept is opposite to the substantial consideration, so that various concepts which is able to replace this in accordance with the similar cases are also exist such as change, deterioration, mutation, deformity of appearance and morphing which is frequently used in computer as a technical word. These concepts are not clearly classified, and variably and complicatedly related. Transfiguration basically means the denial of "objectivity' and '(continual) stagnation' or deviation from those. This phenomenon is appeared through the all art schools of art ever since the realism is denied in the 19th century. It is called as 'deformation' in case of expressionism, futurism, cubism, etc, in the beginning of the century, which its former indication is mostly preserved within the process of structural deviation and which has the realistic limit which should be preserved. On the contrary, dramatic transfiguration which has been showing in the modern era through surrealism is different in the point that dramatic transfiguration tends to show the deterioration and deviation rather than the preservation of indicated object. From this point, transfiguration coming out from morphing using computer deteriorates and hides the reality and furthermore, it replaces the 'reality'. Moreover, transfiguration is closely approached to the world of fake or 'imaginary' simulation world of Baudrillard. According to Baudrillard, the image hides and deteriorates the reality, and furthermore, expresses 'not existing' to 'imaginary' under the name of transfiguration. Certain reality, that is, image which is absent from the reality is created and overflowed, so that it finally replaces the reality. This is simulation as it is said by Baudrillard. In turn, Georges Bataille discusses about the image which is produced by digital technology in terms of heterologie. Image of heterologie is the visual signal which is established with the media. Image of media is to have the continuous characteristics of produce, extinction, and transformation, and its clear boundary between images becomes meaningless. The meaning of composition, excess, violation, etc of digital image is explained to heterological study or heteologie suggested as important meaning of Georges Bataille who is a heretic philosopher. As the form and image of mutation shows the shape in accordance with mechanical production, heterologie is introduced as very low materialism (or bas materialisme), in this theory. Heterologie as low materialism which is gradually changing is developing as a different concept and analysis because of the change of time in the late 20s century beside high or low meaning. Including my image, all images non-standardizes and transforms the code. However, reappearance and non-standardization of this code does not seem to be simple. The problem of transformation caused by transfiguration which appears in my digital drawing painting, simulation, heterologie, etc, are the continual problems. Moreover, the subject such as existence of human being, distance from the real life, politics and social problems are being extended to actual research and various expressing work. Especially, individual image world is established by digital painting transfiguration technique, and its change and review start to have the durability. The consciousness of observers who look at the image is changing the subject. Together with theoretical research, researchers are to establish the first step to approach to various image change of digital era painting through transfiguration technique using our realistic and historical image.

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Study on the Performer's Transference and Mental Borderline in a Performance (공연에서 나타나는 '전이'와 배우의 '심리적 경계'에 관한 연구)

  • Kim, Jong-Gu
    • (The) Research of the performance art and culture
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    • no.25
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    • pp.57-89
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    • 2012
  • The performers preparing for a performance usually experience the process of mental transference, contacting with text (drama) for the first time. It is movement from their everyday life to space in the play, when they try to break the wall between cast and themselves. The transference happens actually at the physical space, such as a dressing room, wing, (place just before appearing at a stage), and a stage (place to contact with audience). Performers keep moving among each psychological and physical space repeatedly, until the performance finishes totally. The transference means moving to each space to another, and the mental borderline means the point of mental change the performers experience during the process of transference. The mental borderline can be guessed to exist through mental aspects the performers feel when they move from each space to another. The most typical example, that shows performer's mental borderline well, is stage fright shown as tension, or anxiety among the variety of aspects. According to a research, the most performers experience that kind of mental aspect just before appearing at a stage. The study on it is already referred by my article.' A Study on Korean Performer's Stage Fright. This study aims at examining the relationship among psychological and physical space the performers experience, mental borderline when transferring and penetrating those spaces, and performer's mental change First, the concept of mental borderline is to be understood totally with preceded research. And the space the performers experience and mental borderline at transference are to be reorganized. Secondly, the area of transference in the process of performance is to be reclassified into physical and mental space. Third, analyzing the actual case of performers experiencing the mental borderline, the diversified use should be searched to make use of mental borderline as a positive element. The psychological symptoms, performers experience in the performance, can have positive consequence beside negative one. The tension occurring at the area of borderline is positive, and it can be the actual borderline for the performers. It will be researched how the performers change at the mental borderline, the state of mind is maintained, and they perform in an overall performance, through the study on the relationship between the transference and the mental borderline. And the stress and concentration caused by stage fright, and shyness will be confirmed, and the positive element of a stage, which is used as various defense mechanism.

A Study on the Utilization and Symbolizes of the Joseon Dynasty Flowering Plant (조선시대 화훼식물의 이용과 상징성에 관한 연구)

  • Kim, Seung-Min
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.2
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    • pp.134-147
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    • 2014
  • The purpose of this study is, focusing on the ancient paintings and literatures, by examining Flowering Plants and drawing their cultivating methods, to provide a ground of utilizing them on the modern landscaping. In the scope and method of this study, 766 pieces of ancient paintings(6 garden paintings and 760 folk paintings) which were available and had value as literatures, and 8 of ancient literatures were intensively examined. Main results extracted from them are as follows. First, the most frequently used Flowering Plants in Joseon Dynasty were Prunus mume, pbyllostachys, Nelumbo nucifera, Chrysanthemum morifolium, Musa basjoo, Rosa spp., Rhododendron mucronulatum, Paeonia lactiflora, which appeared 11 times to 16 times in total. Next frequently(4 times to 8 times) used Flowering Plants were Gardenia jasminoides, Punica granatum(8 times), Dianthus chinensis, Vitis vinifera(7 times), Orchidaceae, Syringa velutina, Impatiens balsamina, Hemerocallis fulva, Celosia cristata, Hibiscus Syriacus, Rhododendron indicum(6 times), Rhododendron, Rhododendron obutusum, Acorus calamus, Althaea rosea, Kerria japonica, Citrus junos(5 times), Hibiscus mutabilis, Lychnis cognata, Calendula officnalis, Begonia rex., Helianthus annuus, Papaver spp., Narcissus tazetta, Daphne odora, Hosta plantaginea(4 times). Second, usage of the Flowering Plants in Joseon Dynasty can be divided into character building and horticulture for pleasure through positive, scientific approach attempt. It suggests that there might have been classes in the use of them and we can estimate which plants were particularly preferred. Third, in the symbolicity of the usage of Flowering Plants, it can be divided into three parts: The case of representing integrity, gentleman, honesty and nobility and the thought of loyalty and filial piety under the influence of Confucianism. The case of representing Taoism's thought of hermit and perennial youth and long life. The case of representing wish on wealth and prosperity. So if we make a good use of it, we may draw a meaning of cultivation of Flowering Plants from it. This is your target audience or the good luck to all he plants is aimed at, you can see the occurred. Fourth, the Joseon Dynasty was the use of flowering plants are the line of rain wanted to be more consistent with the spirit world. This is shown as a symbol of their ancestors. Joseon Dynasty was used, resulting in a kind of flowering plant and is not a subjective judgement criteria A psychological approach to the side when interpreting the Joseon Dynasty flowering plants to take advantage of the landscape of the area will widen in scope.

A Study on the Traditional Aesthetic Characteristics Appearing in the Chinese Animation -Focusing on Three Elements of Zong Baihua's Artistic Conceptions- (중국 애니메이션<대어해당 (大魚海棠)>중에 나타난 전통 미학 특징 연구 -쭝바이화(宗白華)의 의경(意境) 3가지 구성 요소 중심으로)

  • Yang, Kun;Lee, Seel- ku
    • Cartoon and Animation Studies
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    • s.47
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    • pp.53-79
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    • 2017
  • This study explored Chinese traditional art aesthetics in the , focusing on three elements 'principle', 'dance', 'blank' which consist of the artistic conception of Zong Baihua. In addition, this paper is aimed to prove that Chinese traditional aesthetics is still available as a creative element that can provides future direction and implication for modern animation movies by analyzing how the components of these three elements were used in the and how the artistic beauty of the animation was presented. In the critiques of Chinese art, the scope of 'conception' is the 'qualified' standard about art. This 'qualified' standard includes not only external similarity in forms but also internal similarity in spirits. The authors of the early Chinese animations integrated the artistic conceptions with the animations and expressed the national cultural contents of the Chinese animations, so that the audience could deeply understand the characteristics of Chinese animation with cultural and spiritual contents. Based on the artistic conceptions that Zong Baihua proposed, this study analyzed the character setting, the ideas that connotes and the scene composition. succeeded to the innovative spirits about Chinese early animation conceptions. The animation presented the view of life that includes the absolute freedom from Zhuangzi's "A Happy Excursion" and the oblivion of external objects. The heroine Spring's change from human to dolphin was presented by dancing. Besides, in the animation, the sea of clouds, the sky full of stars, sea, the sea melting into the sky were also presented in quantity. The large area of colors fantastically presenting in 'blank' scenes fully expressed the stories and sentiments of this animation. According to the analysis in this study, by identifying the traditional atmosphere that included heavy Chinese characteristics and harmonious conceptions in through the wisdom of Chinese classics and artistic conceptions, it can be confirmed that nowadays the artistic tradition of the classics still works as an extending innovative element in the future animations.

The Characteristics and Significance of 'Nim' Texts in the Late Chason Period: Focused on Saseol-sijo and Chap-ga (조선후기 '님' 담론의 특성과 그 의미 : 사설시조와 잡가를 중심으로)

  • Shin Eun-Kyung
    • Sijohaknonchong
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    • v.20
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    • pp.113-139
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    • 2004
  • This article intends to illuminate how the men. leading agents in Saseol-sijo - musical performers. writers of lyrics, patrons. composers. compilers of Sijo anthologies, audience. etc. - In the Late Choson period, viewed or recognized women and how their understanding of women was reflected in the texts. Working with texts with the theme of 'Love,' this article starts with categorizing two types of love: the first type, 'lovelorn heart' focusing on unilateral pining for a single lover who is absent now and the second type. 'physical love' concentrating on bilateral sexual intercourse. In addition to the types of love, the gender of poetic speakers, distinct from real poets is vital to characterize the discourse of love. According to these two factors. texts in question fall into four groups: texts that a female speaker displays her lovelorn heart('Type 1'), those where she speaks about her sexual experiences('Type 2'), those where a male speaker sings his lovelorn heart('Type 3'), and those where he describes his sexual experiences('Type 4'). Of these. 'Type 2' and 'Type 3' are key to understanding of the men's view of women. With respect to the configuration of the theme of 'Love,' it should be noted that in Korean literary history, the nim or a 'sweetheart' had signified the totality of value or a perfect entity which makes one's life meaningful and that 'Type 1,' the pattern that a female subject expresses her love toward male min, had constituted a traditional way to convey the theme of 'Love.' In terms of this connotation of min. a remarkable increase of 'Type 3' implying the increase of male speakers, reveals the extent to which women, the male speakers' min, accomplished their entry into a 'sacred area' -the position of mm-in which only men had occupied; females are focused and centralized. This article considers this phenomenon as an exhibition of the upgrade of women's significance and weight in the Late Choson society and as an index of 'modernity.' Meanwhile, given that most of the Saseol-sijo poets are men, the emergence of the 'Type 2' texts in which male poets have female speakers disclose their sexual experiences, demonstrates a representative example that women are degraded to be a means of men's pleasure; for this situation gives men more pleasure than when male speakers reveal their sexual experiences. Not only 'Type 2,' but texts group which basically belongs to 'Type I' and conveys the theme of 'Loyalty' through the female voice by substituting rulers-subjects relation for men-women relation, also falls under the same case. For men employ female voice as a poetic device in order to stress the theme of 'Loyalty' This article regards this phenomenon as an index of 'pre-modernity,' in the sense that in a pre-modem society, specifically in Early Choson, male-oriented value system dominates, thereby alienating women. As it is well known, the Late Choson is marked by a transitional period from a pre-modem society to a modem society. Therefore the ambivalence of the premodern and the modem can be found mixed in every segment of the society. The dual aspects of the masculine view of women in Saseol-sijo constitutes one example. The significance of the Saseol-sijo in Korean literary history can be found in this phenomenon.

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An analysis of daily lives of children in Korea, Japan and China (한국, 중국, 일본 유아들의 일상생활에 대한 비교연구)

  • Kisook Lee;Mira Chung;Hyunjung Kim
    • Korean Journal of Culture and Social Issue
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    • v.12 no.5_spc
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    • pp.81-98
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    • 2006
  • The objective of this research is to do a cultural comparison on the daily lives of the children of Korea, Japan and China. To achieve this objective, the questionnares were distributed to the 2940 mothers of children from the ages of 3 to 6 in the countries of Korea, Japan and China. The target audience consisted of 941 mothers living in Seoul and Kyunggi area for Korea, 1007 mothers living in Tokyo for Japan, and 992 mothers living in Beijing for China. As a result of the research, we found out that firstly, although children in general got up anytime between 7:00am to 9:00am and went to bed between 8:00pm and 11:00pm, 61.5% of the Korean children went to bed after 10pm and 16.8% after 11pm. Besides that, we found that compared to 3.51% of Korean children who got up before 6am, 13.41% of Japanese children and 17.24% of Chinese children got up before 6:00am. So we could see that the Korean children got up later and went to bed later than their Japanese and Chinese counterpart. This pattern could also be seen in the average rising time and bed time. Korean children went to bed at 10:00pm and woke up at 7:75am whereas the Japanese children went to bed at 9:28pm and woke up at 7:39am, and the Chinese children went to bed at 9:05pm and woke up at 7:05am. The average sleeping hours for Japanese children was 10.12 hours, 9.50 hours for the Chinese and 9.75 hours for the Korean. As a result, we could see that the Korean children went to bed later, got up later and slept fewer hours than their Japanese and Chinese counterparts. Also, since the rising time and bedtime of the Korean children was later than those of the Chinese and Japanese counterparts, the former s' breakfast and dinner time was also much later. Secondly, we looked at the time children went off to and came back from institutes such as kindergarten and child care centers. The Chinese were earliest at going with average attendance at 7:83am, the Japanese came next at 8:59am and the Korean children were last at 8:90am, whereas the Japanese came first in coming back home at 3:36pm, Korean next at 3:91pm and the Chinese last at 5:46pm. Next when we looked at the hours spent at the kindergartens and child care centers, Japan spent 6.76 hours, Korea 7.01 hours and China spent the longest hours with 9.63 hours. Excluding China where all preschool institutes are centralized into kindergartens, we nest looked at time children went to and came back from the institutes as well as the time spent there. In the case of kindergarten, there was not much difference but in the case of child care centers, the Japanese children went to the child care centers mach earlier and came home later than the Korean children. Also, the time spent at the child care center was much longer for the Japanese than the Korean children. This fact coincides with the Korean mothers' number one wish to the kindergartens and child care centers i.e. for the institutes to prolong their school hours. Thus, the time spent at child care centers for Korea was 7.75 hours, 9.39 hours for Japan and 9.63 hours for China. The time for Korea was comparatively much shorter than that of Japan and China but if we consider the fact that 50% of the target audience was working mothers, we could easily presume that the working parents who usually use the child care centers would want the child care centers to prolong the hours looked after their children. Besides this, the next most wanted wish mothers have towards the child care centers and kindergartens was for those institutes to "look after their children when sick". This item showed high marks in all three countries, and the marks in Korea was especially higher when compared to Japan and China. Thirdly, we looked at the private extracurricular activities of the children. We found that 72.6% of the Korean children, 61.7% of the Japanese children, and 64.6% of the Chinese children were doing private extracurricular activities after attending kindergarten or day care centers. Amongst the private extracurricular activities done by Korean children, the most popular one was worksheet with 51.9% of the children doing it. Drawing (15.20%) and English (11.6%) came next. Swimming (21.95%) was the most popular activity for Japan, with English (17.48%), music (15,79%) and sports (14.70%) coming next. For China, art (30.95%) was first with English (22.08%) and music (19.96%) following next. All three countries had English as the most popular activity related to art and physical activities after school hours, but the rate for worksheet studies was much higher for Korea compared to Japan China. The reason Koreans universally use worksheet in because the parents who buy the worksheet are mothers who have easy access to advertisement or salespeople selling those products. The price is also relatively cheap, the worksheet helps the children to grow the basic learning ability in preparation for elementary school, and it is thought to help the children to build the habit of studying everyday. Not only that but it is estimated that the worksheet education is being conducted because parents can share the responsibility of the children's learning with the worksheet-teacher who make home visits. Looking at the expenses spent on private extracurricular activities as compared to income, we found that China spent 5% of income for activities outside of regular education, Korea 3% and Japan 2%. Fourthly, we looked at the amount of time children spent on using multimedia. The majority of the children in Korea, Japan and China watch television almost every day. In terms of video games, the Japanese children played the games the most, with Korea and China following next. The Korean children used the computer the most, with Japan and China next. The Korean children used about 21.17% of their daily time on computers which is much more than the Japanese who used 20.62% of their time 3 or 4 times a week, or the Chinese. The Chinese children were found to use considerably less time on multimedia compared to the Korean of Japanese.

Historical Studies on the Characteristics of Buyongjeong in the Rear Garden of Changdeok Palace (창덕궁 후원 부용정(芙蓉亭)의 조영사적 특성)

  • Song, Suk-ho;Sim, Woo-kyung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.34 no.1
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    • pp.40-52
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    • 2016
  • Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

Understanding User Motivations and Behavioral Process in Creating Video UGC: Focus on Theory of Implementation Intentions (Video UGC 제작 동기와 행위 과정에 관한 이해: 구현의도이론 (Theory of Implementation Intentions)의 적용을 중심으로)

  • Kim, Hyung-Jin;Song, Se-Min;Lee, Ho-Geun
    • Asia pacific journal of information systems
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    • v.19 no.4
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    • pp.125-148
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    • 2009
  • UGC(User Generated Contents) is emerging as the center of e-business in the web 2.0 era. The trend reflects changing roles of users in production and consumption of contents on websites and helps us to understand new strategies of websites such as web portals and social network websites. Nowadays, we consume contents created by other non-professional users for both utilitarian (e.g., knowledge) and hedonic values (e.g., fun). Also, contents produced by ourselves (e.g., photo, video) are posted on websites so that our friends, family, and even the public can consume those contents. This means that non-professionals, who used to be passive audience in the past, are now creating contents and share their UGCs with others in the Web. Accessible media, tools, and applications have also reduced difficulty and complexity in the process of creating contents. Realizing that users create plenty of materials which are very interesting to other people, media companies (i.e., web portals and social networking websites) are adjusting their strategies and business models accordingly. Increased demand of UGC may lead to website visits which are the source of benefits from advertising. Therefore, they put more efforts into making their websites open platforms where UGCs can be created and shared among users without technical and methodological difficulties. Many websites have increasingly adopted new technologies such as RSS and openAPI. Some have even changed the structure of web pages so that UGC can be seen several times to more visitors. This mainstream of UGCs on websites indicates that acquiring more UGCs and supporting participating users have become important things to media companies. Although those companies need to understand why general users have shown increasing interest in creating and posting contents and what is important to them in the process of productions, few research results exist in this area to address these issues. Also, behavioral process in creating video UGCs has not been explored enough for the public to fully understand it. With a solid theoretical background (i.e., theory of implementation intentions), parts of our proposed research model mirror the process of user behaviors in creating video contents, which consist of intention to upload, intention to edit, edit, and upload. In addition, in order to explain how those behavioral intentions are developed, we investigated influences of antecedents from three motivational perspectives (i.e., intrinsic, editing software-oriented, and website's network effect-oriented). First, from the intrinsic motivation perspective, we studied the roles of self-expression, enjoyment, and social attention in forming intention to edit with preferred editing software or in forming intention to upload video contents to preferred websites. Second, we explored the roles of editing software for non-professionals to edit video contents, in terms of how it makes production process easier and how it is useful in the process. Finally, from the website characteristic-oriented perspective, we investigated the role of a website's network externality as an antecedent of users' intention to upload to preferred websites. The rationale is that posting UGCs on websites are basically social-oriented behaviors; thus, users prefer a website with the high level of network externality for contents uploading. This study adopted a longitudinal research design; we emailed recipients twice with different questionnaires. Guided by invitation email including a link to web survey page, respondents answered most of questions except edit and upload at the first survey. They were asked to provide information about UGC editing software they mainly used and preferred website to upload edited contents, and then asked to answer related questions. For example, before answering questions regarding network externality, they individually had to declare the name of the website to which they would be willing to upload. At the end of the first survey, we asked if they agreed to participate in the corresponding survey in a month. During twenty days, 333 complete responses were gathered in the first survey. One month later, we emailed those recipients to ask for participation in the second survey. 185 of the 333 recipients (about 56 percentages) answered in the second survey. Personalized questionnaires were provided for them to remind the names of editing software and website that they reported in the first survey. They answered the degree of editing with the software and the degree of uploading video contents to the website for the past one month. To all recipients of the two surveys, exchange tickets for books (about 5,000~10,000 Korean Won) were provided according to the frequency of participations. PLS analysis shows that user behaviors in creating video contents are well explained by the theory of implementation intentions. In fact, intention to upload significantly influences intention to edit in the process of accomplishing the goal behavior, upload. These relationships show the behavioral process that has been unclear in users' creating video contents for uploading and also highlight important roles of editing in the process. Regarding the intrinsic motivations, the results illustrated that users are likely to edit their own video contents in order to express their own intrinsic traits such as thoughts and feelings. Also, their intention to upload contents in preferred website is formed because they want to attract much attention from others through contents reflecting themselves. This result well corresponds to the roles of the website characteristic, namely, network externality. Based on the PLS results, the network effect of a website has significant influence on users' intention to upload to the preferred website. This indicates that users with social attention motivations are likely to upload their video UGCs to a website whose network size is big enough to realize their motivations easily. Finally, regarding editing software characteristic-oriented motivations, making exclusively-provided editing software more user-friendly (i.e., easy of use, usefulness) plays an important role in leading to users' intention to edit. Our research contributes to both academic scholars and professionals. For researchers, our results show that the theory of implementation intentions is well applied to the video UGC context and very useful to explain the relationship between implementation intentions and goal behaviors. With the theory, this study theoretically and empirically confirmed that editing is a different and important behavior from uploading behavior, and we tested the behavioral process of ordinary users in creating video UGCs, focusing on significant motivational factors in each step. In addition, parts of our research model are also rooted in the solid theoretical background such as the technology acceptance model and the theory of network externality to explain the effects of UGC-related motivations. For practitioners, our results suggest that media companies need to restructure their websites so that users' needs for social interaction through UGC (e.g., self-expression, social attention) are well met. Also, we emphasize strategic importance of the network size of websites in leading non-professionals to upload video contents to the websites. Those websites need to find a way to utilize the network effects for acquiring more UGCs. Finally, we suggest that some ways to improve editing software be considered as a way to increase edit behavior which is a very important process leading to UGC uploading.


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