• Korean Architects
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• s.543
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• pp.20-21
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• 2014

• 주택과사람들
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• s.197
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• pp.18-18
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• 2006

2006년의 젊은 미술 앞에서 두통을 경험하거나 침묵으로 일관했던 이라도 걱정 말자. 현대 미술의 향연 광주 비엔날레에서는 '전통과 새로운 정체성의 충돌'이라는 동시대 아티스트들의 고민만 염두에 두고 발걸음을 옮기면, 첨단 미디어 아트 앞에서도 누구나 유쾌하게 배부를 수 있다.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.2
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• pp.28-35
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• 2003

This study was conducted to identify the characteristics of social carrying capacity at mega-events, especially the 2000 Kwangju Biennale in Korea. In particular, this paper has proposed some management policies for mega events taking into account the relations between social carrying capacity, satisfaction and crowding. The research method was to look into the general characteristics and distributive forms of the location, and then to confirm the possibility of sampling the factors involved in satisfaction degree; last, A factor analysis for causal analysis of perceived crowding was performed. The study needed correlation analysis in order to compare expected crowding and perceived crowding, and performed regression to examine the causality of perceived crowding and satisfaction. The research results were as follows: the correlation of expected crowding, perceived crowding, and the total satisfaction was very low or meaningless. The relation between satisfaction and elements for factor analysis such as convenient facilities and value experience showed partial meaningfulness. The factors of convenient facilities, entrance fee, parking lot use, toilet convenience, and exhibit room use had meaningful results; on the other hand, the factors of value experience showed a meaningful result in the guide service of an event place. In conclusion when those holding an event make a basic project, they should consider management measures for convenience of facilities, proper education for guide service, and systematic guidance. Also, as a method for perceived crowding lower than expected crowding, the study has proposed that it is possible to lower expected crowding by providing appropriate information on the number of tourists expected on the weekends and weekdays. Future research should control variables such as personal characteristics, seasons proper for vacation and holidays, and carefully consider their investigation and design. Moreover, it is necessary to study variables involved in expected crowding of more various space-intensive sightseeing places (mesa-events).

• Journal of Digital Convergence
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• v.19 no.2
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• pp.387-395
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• 2021

The study looks into the prospect of expanding interdisciplinary education by examining case studies related to the subject activating economy and understanding the nature of cultural potential of different regions around Korea. The objective is to integrate regional societal for co-existence of cultural events with university being the educational entity for development. The study analyzes the internationally recognized craft event known as the Cheongju International Craft Biennale founded in 1999. For twenty years the Cheongju Industry Cultural Promotion Foundation has organized the Cheongju Craft Biennale and the study researches on the collaborative aspect between the foundation and Cheongju University's Department of Craft and Design. The value of the event is predominant and the locality has clearly been shown.

• International Area Studies Review
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• v.13 no.2
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• pp.712-739
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• 2009

This study organized various perspectives on the scope of arts management in terms of business management based on bibliographical speculations and statistical data. Management of arts such as performance art involves organizational management, human resources management, marketing and financial management. However arts management needs a new perspective in terms of access to specific academic area of arts while it can be approached in a derivative perspective of management theories. For arts include professional areas that need aesthetic perspective and interpretation of aesthetic history. As art market were opened where active international exchanges have been made over the past ten years, a new strategic approach in management is needed for major international arts markets such as the U.S.A., Europe and China. Such international arts markets involve international auctions markets, international Biennale, international art fair and overseas advance of galleries. First, we need strategic approaches such as nurturing star artists. Second, large-scale exhibition planning of artistic works from world-famous museums or art museums should be developed.

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.432-442
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• 2009

This research had a look at what effect of the pursing benefit has on satisfaction, behavioral intention, and attitude of the visitors to the Gwangju Biennale. The survey was conducted for 320 visitors who finished their exhibition viewing schedule starting September 5 until September 19 [15 days]. 300 questionnaires excepting 20 unfaithfully responded copies among those collected from the surveyed were used for the analysis. As for the statistical disposal of the collected data, after going through the process of Data Coding, this research conducted an frequency analysis using SPSS 12.0 for window & statistics package program AMOS 5.0, an exploratory factor analysis to test the reliability and feasibility of the data, and reliability test of each factor; then, this research tested a hypothesis using structural equation model. The research results are as follows: First, as a result of factor analysis of the 15 pursuing benefits, 4 factors were elicited, such as pursuit of an intellectual experience, pursuit of a novel, exotic experience, pursuit of interpersonal, cultural exchange, and pursuit of internal fullness, etc.; as a result of factor analysis of the 10 attitudes, three factors were elicited, such as affective, cognitive, behavioral factors; as a result of factor analysis of 12 types of satisfaction, two factors, such as satisfaction with facilities and convenience matters, etc. were elicited. Second, as a result of the suitability of research model, suitability, its fidelity came out as $x^2=107.508$, d.f.=48, p=.000, Q=2.240, GFI=.942, AGFI=.906, RMR=.024, NFI=.952, TLI=.963, CFI=.973, RMSEA=.064. Third, pursuing benefit was found out to have a positive effect on satisfaction, attitude, and behavioral intention. Fourth, attitude was found out to have a positive significant effect on satisfaction. Fifth, attitude was found out to have a positive effect on behavioral intention. Sixth, satisfaction was found out to have a positive effect on behavioral intention.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Journal of Digital Convergence
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• v.10 no.5
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• pp.327-331
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• 2012

Although crafts industry in Chungcheongbuk-do where Cheongju International Craft Biennale is held has an excellent infrastructure, it is backward comparing with other regions. So we face up to the reality and desire to contribute to the creation of added value and the development of local crafts culture through study on the here and the hereafter of Chungbuk crafts industry. We figure out the customer satisfaction and the potential customer preference for cultural products on sale currently. Then, we establish a detailed marketing strategy and study the way how we can solve the current difficulties including design, technique and marketing.

• The Journal of Art Theory & Practice
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• no.1
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• pp.93-108
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• 2003

The aim of this thesis is to evaluate visual arts policy during Kookmin government period(1998-2002). In the beginning, many artists had expected president Kim Dae Jung to enlarge arts support But the evaluation of them was very negative because the government was only interested in the development of cultural industry. First, I analysed the government expenditure in the visual arts. Department of Culture and Tourism took the responsibility of visual arts policy. The budget of arts and culture increased to 1 % of total government expenditure in this period. But the main factor was the increasement of cultural industry and tourism expenditure. The budget of visual arts in 2002 was only 6,600million won. Second, I analysed visual arts support programs. (1) The government introduced studio programs for the first time. For 5 years, 2 national studios and 23 public studios were established. (2) The number of art museum was increased to 62. (3) It introduced alternative space support program and supported 200million won annually. (4) Percent for art scheme reduced from 1% to 0.7% of total construction cost, but still 27 public sculpture gardens were built. (5) Business support for visual arts reduced because of IMF. (6) Also arts market froze and many commercial galleries were closed. (7) In order to revitalize region through arts and to promote international exchange of culture, Gwangju Biennale was created. Third, I analysed Arts Plan 2002. It had a radical limitation because it was established in the last year of Kookmin government period. Also it showed special favors to some arts organizations. In general, I think that positive outcomes are the introductions of the studio program and the alternative space support program. Especially alternative space support program enforced the diversity of visual arts, and encouraged creative young artists. But policy of arts market failed because of IMF and visual artists had to go through rough times.