• Journal of the Korean Institute of Educational Facilities
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• v.12 no.5
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• pp.25-34
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• 2005

The Educational Cultural Center for Students is a new mixed-cultural space which made around 1997 for students' education of humanism and talent with the 7th revision of educational course. This Educational Cultural Center for Students is different to the existing one because the subject of the culture is students who make creation and performance by themselves while the former ones were for seeing, hearing and feeling things. There are seven Educational Cultural Center for Students all over the country and will be built more in the future. Comparing to the former Educational Cultural Centers for Students, functional rooms in the Educational Cultural Centers for Students are an outdoor performance room, a large performance room, a small performance room of performance facility, a gallery of display facility, a gymnasium, a swimming pool, a fitness room, a table-tennis room of physical facility, a library and a reading room of a book facility, and a group room, a computer room, a singing room, a billiard room, an art room, a musical room, a dancing room, a manner room, a playing room, a cultural lecture room and a seminar room of a interest-activity facility. The result of analyzing the usage frequency is that a performance room has the highest frequency and a display room, a musical room, a music appreciation room and a physical room follow the frequency order. But this frequency does not fit for all area. By place and social situations, the frequency and space organization may be changed.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.31 no.2
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• pp.53-70
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• 2020

This study was intended to present the need for building the library as a hub of the community memory preservation which provides the collection, sharing, and curation services of the locality specific historical and local data based on the policy task, namely supporting the collection, preservation, and management system of the community's life memory. To this end, the current status of data collection, management, and operation of institutions serving regional-based materials such as cultural centers and regional archives was grasped, and the cases and status of curation services in libraries were investigated and analyzed. The discussion proposed via the results of the study are as follows. First, to the culture center, external demand has been increased from the aspect of social education including festivals, cultural and art event, cultural and art educational business, art activities business of local residents and managerial business is to be carried out, which makes it difficult for the culture center to manage its businesses. Accordingly, it is necessary to collect and preserve regional various data at the pubic libraries playing various roles including provision of informative services, cultural programs and information sharing places to local residents and provision of services to vulnerable social group. As the existing libraries have a plan to collect data systematically, it is considered that those libraries will smoothly operate the data management through cooperation with existing culture centers and various cultural organizations. Second, it appears that a plan will be needed to set up all the data including the ones owned by libraries, local administrative agencies, individuals and other competent agencies in online database so that they are easily available to the public and always available in the libraries because there are a lot of data which cannot be moved to other place and it is actually difficult to concentrate and set up all the data to those libraries.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1567-1576
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• 2017

This study presented the direction of cultural welfare based on ICT. For this purpose, it examined the direction of government policies and the status of cultural welfare services and it analyzed art galleries and museums focusing on experiences of cultural welfare services in a home and abroad. As a result, the museum has many changes depending on the media environment, unlike art gallery. In the age of media 1.0, the audience has experienced in real museums. As time goes by, in the age of media 2.0, the customer has opportunity to experience in virtual museums. It seems that there are many differences factor of a media environment, target (exhibits), accessibility, consumption and information. Finally, this study suggested the environmental change factors of Korean ICT cultural welfare service through this. In the future, it will be necessary to continue research on the possibility of expanding cultural welfare services for cultural enjoyment to the underprivileged.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.3-14
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• 2010

As the seniors and the disabled has increased, the demand for cultural centers has also increased in many local areas. This means that the local cultural centers designed from the viewpoint of universal design are needed, so that to be used by everyone without any difficulties. This study examined the applicability of universal design principles to the public service areas of the local cultural centers. The subject cultural centers were three local ones which had seating capacity of more than 1,000 and opened after the year of 2,000 in Gyungnam. The spatial scopes of the study were six public service areas of the local cultural centers : entrance area, corridor and pathway, stair, ramp, elevator, and rest room. The total 65 items for evaluating the applicability of universal design were selected and examined for six areas. On the whole, accessibility, such as wide pathway and flat floor was good. However, the following improvements were needed. 1) Handrails and rounded corner were needed on walls. 2) Consideration of the visually impaired like as braille sign was needed. 3) The handrails on ramp should be installed for usability. 4) The automatic door would be more useful to the physically disabled users. 5) Wider space and familiar handrail design and color were needed in the rest rooms for the handicapped.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of Fashion Business
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• v.25 no.6
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• pp.70-80
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• 2021

The purpose of this study is to compare and analyze the identities and roles so that they can grasp their social roles and directions. Artists show a change in identity from the deification of modern artists with freedom and genius to artists who challenge the cognitive aspect of art and redefine the scope and concept of artists by expanding their social role. Artists dreaming of an ideal art utopia, in which art, society, politics, and daily life are coordinated, are constantly presenting the social role and direction of art through the combination and challenge of new ways of art and craft, beauty and function, creative imagination, and public service. Fashion designers act as contemporary genius artists, creators who express the appearance of the times, practitioners who advocate social values and changes, members of business in the fashion system, celebrities who are spotlighted by the public at the center of the fashion industry, or fashion influencers. Thus, fashion designers are complex or selective in their role depending on the fashion philosophy of individual designers or location given within the fashion system. They are becoming the subject of creating the culture of the times by expressing social ideology or playing a role in practicing art in life that leads social culture so as to raise the value of fashion in their development and satisfy cultural enjoyment of fashion consumers who consume art in everyday life.

• (The) Research of the performance art and culture
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• no.39
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• pp.835-861
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• 2019

Ulsan was selected as an industrial and industrial city, a leading city of Korean economic development in the 1960s, and it was rapidly changed social environment with the influx of many labor population. This change has had a great impact on the traditional customs of the region, and the traditional intangible culture has disappeared or disappeared, which requires urgent protection of intangible cultures compared to other regions. This study suggests the current situation to restore the agricultural music made up of the three-time customs recorded in the 1930s in Ulsan Dali area. The research method is literature research and field research. First, the literature analyzes the farming music in connection with the farming work performed in the Ulsan Dali area in 1936, and secondly, The field survey was based on the current situation of restoring farm music at the Nam-gu Cultural Center in Ulsan. The results of the research were observed in the Ulsan area, which has disappeared rapidly. In addition, it revealed the status of being handed down from 'Kim Dal-oh', a traditional farmer who worked at Ulsan Cultural Center, to 'Kim Se-ju', who is trying to restore the farm music.

• Archives of design research
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• v.19 no.3 s.65
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• pp.45-58
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• 2006

Design policy in Korea has been dealt as one of the industrial policies in economic policies, and it can be classified as government driven. A problem derived from this is that previous design policies have only pursued creating material values, and have overlooked the emotional values of design, such as creating cultural identity of Korea and cultural independence through it. Therefore, a new mindset of 'Cultural Era of Design' and a new role of 'Designers as Producers of Culture' must be in the strategy and system for supporting the design in Korea. This study can be divided into three major parts. First part compares and examines current design policies of Korea to seek more suitable design policies. Second part suggests a new direction for design policy by analyzing the ideas and cases of such policies. Third part surveys designers and people in related fields to collect opinions about design policies in Korea to propose directions for new design policies and ways to evaluate them. The object of this process is to find out how they, in the center of design and cultural industries, see and follow the policies. It will aid the narrowing of perceptual gap between them and the developers of policies.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.11
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• pp.6659-6668
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• 2014

This study examined the actual condition of the cultural welfare system for the disabled. The survey was completed by 21 public and private museums at a cultural welfare center in Gangwon-do, Yongwol-gun, specialized for museums only between 1 June and 31 July 2014. The study scale questions were analyzed by field surveys in cultural welfare centers and interviewing the museum directors. The results were as follows. First, there were cultural welfare service effects on the controlling culture, art and leisure activities for the disabled. Second, cultural enjoyment improved the quality of life and life satisfaction of the disabled. This study provides a database to improve policy regarding environmental construction, various program developments, visiting performance system development, and supplement and financial support for the disabled audience as a member of society.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.4
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• pp.1532-1540
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• 2012

The development and operation of brand programs can help regional Culture & Art Centers provide sustainable contents to local citizens. The study of domestic and foreign examples shows that successful, competitive brand programs share common characteristics: interactive features; systematization and manualization of programs and unique, individual, universal themes.