• Journal of English Language & Literature
• /
• v.60 no.2
• /
• pp.193-209
• /
• 2014

Writers in England's colonies and former colonies have long struggled with the advantages and disadvantages of employing the language of the colonizer for their creative work, an issue that today reaches beyond the older imperial trade routes in the era of "global English." Creative writers in widely disparate locations are now using global English to their advantage, with what can be described as post-postcolonial strategies. This essay explores the politics of global English, beginning with a satiric dictionary of "Strine" (Australian English) from 1965, and then looking back at the mid-1960s debate at Makerere University between Ngugi wa Thiong'o and Chinua Achebe, in which Achebe famously asserted the importance of remaking English for hi own purposes. The essay then discusses early linguistic experiments by Rudyard Kipling, who became the world's first truly global writer in the 1880s and 1890s and developed a range of strategies for conveying local experience to a global audience. The essay then turns to two contemporary examples: a comic pastiche of Kipling-and of Kiplingese-by the contemporary Tibetan writer Jamyang Norbu, who deploys "Babu English" and the legacy of British rule against Chinese encroachment in Tibet; and, finally, the Korean-American internet group Young-hae Chang Heavy Industries, who interweave African-American English with North Korean political rhetoric to hilariously subversive effect.

• Journal of the Economic Geographical Society of Korea
• /
• v.14 no.1
• /
• pp.71-85
• /
• 2011

Many of the old industrial cities in advanced economies have experienced deindustrialization since the 1960s. While some of them have been transforming their economic structures with new economies, such as arts and cultural industries, others have been seriously suffering from economic and social problems. Brooklyn Borough of New York City is one of the best examples which have gone trough rapid de-industrialization; but have been reasonably successful in recovering its economy with arts and cultural industries. This paper introduces the process of developing creative industry clusters, articulates major actors, and find out the governance of the clusters, using three Brooklyn's arts clusters, such as DUMBO, BAM and Williamsburg. Based on the case studies, the paper draws theoretical and policy implications applicable to the Korean circumstance.

• Journal of Digital Contents Society
• /
• v.19 no.3
• /
• pp.595-603
• /
• 2018

Recently, the government has been interested in the creative economy in order to create new added value through industries and cultures, jobs, and growth engines for talented people who have creative ideas. The government emphasized technology commercialization as a core task for the realization of the creative economy in the '5th Technology Transfer and Commercialization Promotion Plan' based on the 'Technology Transfer and Commercialization Promotion Act' in order to ensure that the technologies developed through R&D projects lead to new industries and job creation. It is necessary to study what kind of variables are influenced by specific variables in the utilization and process of the developed technology to lead the results as the proportion of national R&D budget is increasing and it is linked to the achievement of R&D purpose. Therefore, an empirical study was conducted to measure factors affecting performance for practitioners who evaluate the performance of SME technology development projects. As a result, Readiness, Technological Performance and Competency Assessment effect Performance Assessment positively.

• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.19 no.6
• /
• pp.1353-1358
• /
• 2015

The creative economy is the industrialization era, the information age, knowledge-based economy, linking the new economic paradigm. The core words of the creative economy are stand for creativity, innovation, consumer protection and utilization of intellectual property. Creative ideas are combined with software technology will make innovative ecosystem-based structured market such as Apple, Google, Facebook. Intangible assets attributable to creativity than ever before in human history that is important as the economic value. In addition, innovative ideas, creativity and economic growth beyond the knowledge and information society is required. Because the core has a fusion of science and technology, industry, culture and industry convergence, various genres of creative activity support, and cultural and high-tech fusion industries, such as content creation and job creation through economic traction is needed. In this study, we analyze the case of the US Smithsonian Institution proposes the direction of Science Museum in creative workforce.

• Journal of the Korean Society of Costume
• /
• v.66 no.7
• /
• pp.124-138
• /
• 2016

The present study observes collaboration methods in which 3D printing was a part of the fashion manufacturing process, expression methods of such cases, and their ripple effects. As a result, the three types of collaborations between fashion designers and other industry fields, fashion brands and 3D printing companies, and fashion designers and artists. Case analysis results and ripple effects found according to each collaboration method were as follows. First, in collaborations found were between fashion designers and other industry fields, 3D printed fashion works with futuristic images were seen through the fusion of future industries, which claim to support cutting edge digital technology, and creative fashion design. As they were mainly collaborations between automobile industries with cutting edge images or digital related industries and fashion designers, they were expressed as a new form of experimental clothing, and were used as strategies to improve future corporate images of the high tech industry. Second, in collaborations between fashion brands and 3D printing technology businesses, the sporting good brands and the shoe industry attempted to let their products be known through the promotion of functional material or ergonomic technology. While they emphasize practicality by mainly using flexible material, they were mainly proposed as functional sporting goods for famous players or as shoe accessories, so methods are still used for public distribution as brand promoting marketing strategies. Third, with collaborations between fashion designers and artists, creative pieces were shown through the grafting of 3D printing technology, the artistry of artists, and the experimentation of fashion designers. In particular, the innovative value of fashion as art was created through the union of the artistic 3D modeling technology support of artists and the creativity of designers. Like this, 3D printing fashion can graft the cutting edge nature of fashion to other industry fields through collaborations, enhancing pacesetting images, and in the fashion field, it can improve possibilities for innovations in the fashion industry through the support of 3D printing technology businesses and artists, raising expectations towards future human living.

• Journal of the Economic Geographical Society of Korea
• /
• v.17 no.4
• /
• pp.632-645
• /
• 2014

This paper criticized the recent Korean 'creative economy policies' focused on regional developmental implications. Even though the policies targeted to promote ICT new startups and build virtuous circle of ICT industrial ecosystem in Korea as a whole, the outside regions of the Seoul-Busan industrial axis where the bases of ICT industries are very weak would suffer from systematic exclusion in ICT investments and deepening regional disparities. Second, ICT-centered policies would selectively affect or operate commensurate with the size of regions in this low-growth, after-financial crisis age. Third, the possibilities of regional insularity and lock-in in these low levels of 'related variety' regions would worsen the industrial competitiveness. Lastly, the policies should be reoriented to fortify region-based creative economic ecosystem based upon triple helix learning region.

• Journal of Digital Convergence
• /
• v.17 no.11
• /
• pp.467-474
• /
• 2019

Key areas of digital contents, the games and animation industries are increasingly expanding. Therefore, training of a specialized workforce is required in accordance with these enterprises' growing demand. Education in the field of games and animation lies in cultivating talents with creative thinking, collaboration, and problem-solving skills. Thus, this paper aims to propose a PBSL teaching model for creative convergent talent through game and animation projects. The study will focus on the characteristics of creative convergence talents, project teaching, and related job competencies for game and animation education. Based on literature research, a 'Project Based Self Learning' instructional model is presented, in which creative thinking and collaboration competencies are explained in a way they can be performed by the learner. As a case study, D University's class was applied with PBSL. A survey showed that the autonomy aspects were higher than the creativity and convergence attitudes, indicating that the students improved their autonomy and motivation. However, the team composition needs further supplementation.

• Journal of Technology Innovation
• /
• v.12 no.1
• /
• pp.161-188
• /
• 2004

The objective of this research is to evaluate the Creative Research Initiative Program (CRI), a national R＆D program funded by the Ministry of Science ＆ Technology in Korea. The evaluation of CRI covers the following research questions; 1) Have it set a unique position and characteristic distinguished from other government-funded R＆D programs\ulcorner 2) Are the achievements of the program relevant to its goal\ulcorner 3) What is its performances and how much is it achieved its goal\ulcorner The results are the followings; 1) CRI is perceived as a pure basic research, distinguished from other national basic research programs, such as the Coal Oriented Basic Research Program and the SRC and ERC. 2) CRI is a well-adapted R＆D program in confront of the environmental changes and R＆D needs, as well as follows the planned R＆D areas. 3) CRI have performed well in the raising-up world-class research leaders and the nation-wide diffusion of creative R＆D culture, while it got few performances in the overcoming the limitation of the existing technologies and the independent development of original key technologies for future industries. However, the duration of the program, 5 year, is too short to expect concrete outcome, such as creating original technologies. Many of the outcomes of CRI gets a lot of attention from top class scientists in the world, it is expected to generate various R＆D performances in the future.

• The Journal of the Convergence on Culture Technology
• /
• v.6 no.4
• /
• pp.567-573
• /
• 2020

The COVID-19 outbreak had a substantial impact on our lives. Social distancing policies are especially causing severe concern for the cultural and creative industries across the globe. Most performing arts festivals and other venues are being canceled due to COVID-19 fears and social distancing measures. Instead, many individual artists and organizations attempt to deliver their arts online using ICT and live streaming. The actions of the Government in responding to the COVID-19 crisis also provide financial support toward freelance artists and creators, and company. Finally, future directions and areas that need further support are described.

• Journal of Korea Planning Association
• /
• v.54 no.1
• /
• pp.108-117
• /
• 2019

The purpose of this study is to investigate whether the plan reflecting the place in cultural regeneration was implemented and whether it was a change of place in culture through culture analyze. Mullae-dong has changed its urban structure into a textile factory, a manufacturing industry, an ironworks+artistic complex, and the Mullae art factory has been organizing a festival that has been created by artists and residents alike in the Mullae creative village. However, prior to the creation of the Mullae art factory in the social element, self-sustaining programs of Mullae creative villages were derived, but now commercial space is mainly derived. Therefore, it is necessary to plan for coexistence of ironworks, cultural space and commercial space rather than expanding into commercial space. Geumcheon-gu Geumcheon-gu Geumcheon Art Factory has become an integrated complex where various industries coexist in industrial complex. Geumcheon Art Factory also holds an artist support program every year and actively works as an international creative exchange center in Seoul. However, programs that act as a mediator are not implemented since 2014, and the Open Studio stops once a year. Therefore, Geumcheon-gu needs to expand programs that can include local programs and programs that can be combined with local cultural media.