• Journal of Public Diplomacy
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• v.3 no.2
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• pp.35-52
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• 2023

Korea has developed as an influential country over Asia and all over the world based on remarkable economic development. And the background of this development was possible due to the existence of those who sacrificed precious lives and contributed to the nation's existence in the past crisis. Every year, Korea holds an annual commemorative event with people of national merit, Korean War veterans, and their families, expressing gratitude for sacrifices and contributions at home and abroad, and providing economic support. The tragedy of the Korean War and the pro-democracy movement in Korea over the past half century will one day become a history of the distant past over time. As generations change and the purpose and method of exchange by region change, the tragic situation that occurred earlier and the way people sacrificed for the country are expected to be different from before. In particular, it is true that the number of Korean War veterans and their families is gradually decreasing as they are now old. In addition, due to the outbreak of global infectious diseases such as COVID-19, it is difficult to plan and conduct face to face events as well as before. Currently, Korea's digital technology is introducing various methods. 5G communication networks, smart-phones, tablet PCs, and smart devices that can experience virtual reality are already used in our real lives. Business meetings are held in a metaverse environment, and concerts by famous singers are held in an online environment. Artificial intelligence technology has also been introduced in the field of human resource recruitment and customer response services, improving the work efficiency of companies. And it seems that this technology can be used in the field of veterans. In particular, there is a metaverse technology that can vividly show the situation during the Korean War, and a way to digitalize the voices and facial expressions of currently surviving veterans to convey their memories and lessons to future generations in the long run. If this digital technology method is realized on an online platform to hold a veterans' celebration event, veterans and their families on the other side of the world will be able to participate in the event more conveniently.

• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.65-103
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• 2023

In The Canonical Scripture (典經), the core scripture of Daesoon Thought, the Former World and the Later World are divided into the Era of Mutual Contention and the Era of Mutual Beneficence. This concept of the Former World and the Later World appears in diagrams on I-Ching Studies (易學) in the text titled, The Comprehensive Mirror of Taegeukdo (太極道通鑑). In I-Ching Studies, Anterior Heaven (先天) and Posterior Heaven (後天) are the main concepts in Song Dynasty diagram books on I-Ching Studies. Among the diagrams of I-Ching Studies, Fuxi's Diagram of the Sequence of the Eight Trigrams, Fuxi's Diagram of the Positions of the Eight Trigrams, Fuxi's Diagram of the Sequence of the 64 Hexagrams, and Fuxi's Diagram of the Positions of the 64 Hexagrams correspond to the Anterior Heaven, and King Wen's Diagram of the Sequence of the Eight Trigrams and King Wen's Diagram of the Positions of the Eight Trigrams correspond to Posterior Heaven. In The Comprehensive Mirror of Taegeukdo, the diagrams of I-Ching Studies are reinterpreted according to Daesoon Thought. The Diagram of the Eight Trigrams of King Wen's Era corresponds to King Wen's Diagram of the Eight Trigrams in I-Ching Studies. This diagram was drawn according to the text in Chapter Five of the Treatise of Remarks on the Trigrams. This diagram corresponds to "the Era of the Nobility of Earth (地尊時代)" centered on the trigram kun (坤 / ☷ ground). Fuxi's Diagram of the Positions of the Eight Trigrams in I-Ching Studies corresponds to The Diagram of the Positions of the Eight Trigrams of Fuxi's Era in Daesoon Thought. The most significant feature of this diagram is that the trigrams assigned to the directions of north and south match the hexagram indicating the obstruction of Heaven and Earth. This is hexagram 12 (否), meaning "obstruction," and it depicts no exchange or communication between Yin and Yang. Naturally, this symbolizes mutual destruction overtaking Yin and Yang. Daesoon Thought expresses this as "the Era of the Nobility of Heaven (天尊時代)." The most significant feature of The Diagram of the Eight Trigrams of the Corrected Book of Changes in The Comprehensive Mirror of Taegeukdo is that the trigrams assigned to the directions of south and north are indicative of hexagram 11, Peace on Earth and in Heaven (泰). This is a diagram in which mutual destruction is resolved through the Five Phases because the trigrams for water (坎 / ☵) and fire (離 / ☲) are in a corrected orientation. Therefore, this diagram symbolizes a world "free from Mutual Contention" and "the Era of Human Nobility (人尊時代)." According to the contents of The Canonical Scripture, the Supreme God performed the Reordering Works of the Three Realms to correct the Mutual Contention of the Former World, and as a result, the Mutual Contention of the Former World will give way to the implementation of the Dao of Mutual Beneficence. The Supreme God's Reordering Works of the Three Realms have been completed in the realm of divine beings, but in the Later World, they appear as an Earthly Paradise where the Dao of Mutual Beneficence is realized. The diagram depicting the Later World is The Diagram of the Eight Trigrams of the Era of the Corrected Book of Changes in The Comprehensive Mirror of Taegeukdo.

• Asia Marketing Journal
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• v.12 no.4
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• pp.27-54
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• 2011

This research attempted to present the efficiency of culture marketing to the organizations producing culture-art products and to the companies utilizing art and suggest the practical viewpoints to the culture and art policy agencies. The methodology used was to take an in-depth look at the consumer value cognition and benefits of culture-art products in contemporary consumption culture from a social context by conducting a total of 12 Focus Group Interviews, consisting of 58 males and females in their 10s~50s who can represent culture-art product consumers. The culture-art products refer to the artist's spiritual, actual act of creating or to the end products with economic exchange value. They are also sense goods and merit goods that affect the mental state of consumers. By looking at culture-art products as consumer merit goods, this research examined consumer value cognition of culture-art products based on the characteristics culture-art products. As a result, this research determined that consumers view culture-art products largely as 'aesthetic and sensuous merit goods', 'actual and individual merit goods', and 'social public property'. As 'aesthetic and sensuous merit goods', culture-art products are considered as the products of an artist's creative activities; as 'social public property', culture-art products have a public value in terms of ownership; and as 'actual and individual merit goods', culture-art products act on the spirit and reality of a consumer in terms of consumption. As a result of analyzing the benefits of culture-art products based on the above-mentioned consumer value cognition, it was observed that the benefits of culture-art-product consumption are chiefly divided into 'aesthetic character-oriented', 'social relationships-oriented', and 'individual benefits-oriented' depending on how consumers see culture-art products. A 3-conceptional structures model was constructed according to the relationship between consumer value cognition of culture-art products and the benefits. This research revealed that consumers who pursue the aesthetic value or sense of beauty as the central reason experience culture-art products themselves, enjoy intellectual quests, and pursue their satisfaction by expressing affection for and interests in culture-art products. On the other hand, consumers who pursue social value as the central reason as a means of communication by perceiving culture-art products as a public property of society, pursue sympathy with people close to them through the symbolic power of culture-art product consumption or the joy of self-display. Consumers who perceive art products as spiritual and actual merit goods and pursue consumer value as a central reason want to express their own personality, develop themselves, and differentiate themselves or identify themselves with others in the context of social relations for the ultimate goal of living a happy and satisfied life while pursuing to satisfy imminent and actual necessities as emotional stability and rest. The fact that culture-art product benefits could vary according to how a consumer perceives them implies that consumer value cognition of culture-art products and their benefits significant affect consumers' decision in choosing and consuming various culture-art products. It turned out that such benefits from the consumption of culture-art products reflect the complex contemporary consumption culture of rational consumption, symbolic consumption, experiential consumption, and social reflective consumption. This research identified conceptional structures of consumer value cognition on culture-art products and benefits that can be used for studying and understanding culture-art products consumers who pursue a variety of consumption values. They can also be used by private companies in utilizing art, as well as by national agencies in enhancing the population's quality of life. However, since this research could only conceptually grasp consumer perception of culture-art products and reveal the dimension of classification due to its own limitations arising from characteristic investigation, quantitative data on the benefits of culture-art product consumers should be measured in future studies through a quantitative investigation, while using the value cognition of culture-art products and the individual characteristics of consumers as variables based on this research.