• Journal of the Economic Geographical Society of Korea
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• v.19 no.3
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• pp.437-456
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• 2016

The purpose of this study is to understand the locational characteristics of performing art industries and to investigate the linkages with local economy. For the purpose, we examine the spatial concentration of cultural and artistic resources in Korea first, and than focus on Seoul where the resources of performing art industries are concentrated to the utmost. To distinguish the distribution aspect and locational characteristics of performing art industries, we apply the Kernel density analysis and LISA (Local Indicator of Spatial Association) on the address data of performing art theater, gallery, and movie theater. In contrast to galleries and movie theaters. the spatial distribution pattern of performing art theaters reveals a unique local cluster centered on the Daehakro area. We confirm that the Daehakro area constitutes a performing art industry cluster in their dense distribution of various related activities making up the value chain of the performing art industry. Multiple regression analysis probes the related economic activities to explain the distribution of performing art theaters as well as the linkages with the local economic landscape.

• Cross-Cultural Studies
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• v.26
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• pp.145-171
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• 2012

The background of historical Jing-Ju is a history, but the history Chinese wants to watch on the stage is the history dramatized by talented actors/actresses, not the history they want to learn. This thesis intends to examine traditional repertories whose background is historical people or accidents, among the lots of Jing-Ju repertories by each period, grasp periods, accidents, people, etc. preferred by Chinese and examine how they were dramatized. The general characteristics of historical Jing-Ju, grasped by each period, are as follows. The first, for the reason that there are lots of historical Jing-Ju in opera repertories, it can be mentioned by Chinese descriptive tradition and historical tradition. As lots of Chinese novels and drama works were written by history, basic models are suggested and clear development is shown, so there is an aspect which is advantageous for dramatization. Also, there are lots of works whose material is history for not only opera but also drama, TV drama because of the characteristics of China where historical books such as "史記", "戰國策", etc. The second, the period which is the background of historical Jing-Ju focuses on 漢 period, 三國 period, 隋唐 period, 宋 period and 明 period. It seems to be reflected by Chinese superiority to some degree if considering Jing-Ju was extremely popular during the 民國 period. The third, there are many characters who have patriotism loyalty among the historical Jing-Ju. It seems to be the result of discovering lots of materials for appealing patriotism in the situation they were dominated by Japan and the West during the 民國 period. The forth, the most single material is "三國志" among the historical Jing-Ju. This material has the factors of traditional idea, loyalty, fidelity, etc, but there are the most interesting characters and they were popularized by novels, etc. The fifth, in the historical Jing-Ju, the contents and character forms can be sometimes changed by character's skill because character's artistic achievement can play a great role for the completion of Jing-Ju.

• Journal of Korea Multimedia Society
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• v.16 no.10
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• pp.1214-1229
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• 2013

Maintaining our tradition makes us have pride for our nation and plays important role for recognition and establishment of identity for our unique culture in the world. Contrast to the western scientific technique, the scientific technique of Silla Bell absorbed in the life of our nation is the fruit of wisdom science found through rich life and experience by harmony between our nation and nature. Today, ideological backgrounds for many cultural heritages weren't be found and there are many overflowing hypothesis. Silla Bell is the plastic art including cumulative utopia of the racial spirit. So there would be the information of the racial spirit including symbolization, artistry, creativity, and historicity. However, unlikely with the words, it is the profoundly concentrated shape, so the meaning can be diluted or distorted in later generation. The efforts to figure out the symbolization in Korean bells, especially Silla bell according to its exclusive shape, but no hypothesis was accepted as an established theory of academia by gaining extensive agreements. Thus this paper traces the symbolic meaning accumulated in the shape and prepares for the theoretical background accessing to the artistic spirit of forebears who created super-humanity formativeness. Also regarding the Silla bell which is regarded as the best Buddhist metal craft that people believe they can be free from the anguish at the time of listening to its sound, we studied the symbolization of the bell as the religious ritual custom as well as the possibility to utilize the bell as a motif of living art in the aspect of formative expression.

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• Journal of Digital Convergence
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• v.15 no.6
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• pp.399-406
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• 2017

Contrary to the fact that the old films contain artistic and include contemporary literature, religion, and philosophy, latest films are produced with focusing on external interesting composition and sensational scene. A good movie emotionally express the directors' topic message exuding from an interesting story, and empathize with the social agenda which shows a sharp look of the directors' on contemporary social aspect. In the movies of the Coen brothers, it seems like an entertainment movie as typical black comedy genre through irony and happening, but in fact, it inserts a lot of social problems in the film to show that they cynically express their social agenda from a contemplative view. In their movie "The Big Lebowski (1998)", it seems like they are creating comical content through the main characters' unaffected attitude. However, it is director's excellent director of the sub-text that expresses American social issues such as Vietnam war, post-modernism and an obscurantist policy and au fond the comedy about the historical facts of mass production of social maladjustment into black comedy. We expect to contribute to make a step forward in the Korea film industry by analyzing such movies that has the cultural power of influence.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.58-69
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• 2022

This study compares and analyses the impacts of holding domestic garden expos that will be fundamental for holding garden expos in the future. Satisfaction with the three sites of the 2013 Suncheon Bay International Gardening Expo, 2015 Seoul Gardening Expo, and 2022 Goyang International Flower Fair, as well as factors affecting the satisfaction in economic, social/cultural, environment/ecology, and operation aspects, were analyzed. As a result of the study, the satisfaction level of all three sites was high, with a value of 3.5 or higher. In particular, satisfaction with the 2013 Suncheon Bay International Gardening Expo was the highest. It was found that there was a difference between the satisfaction level of the 2013 Suncheon Bay International Gardening Expo and the 2015 Seoul Gardening Expo. As a regional festival, the 2013 Suncheon Bay International Garden Expo has acquired a high status due to the 'Suncheon Bay Garden' being designated as the first National Garden. It is thought that great satisfaction was obtained because economic, social, cultural, and environmental revitalization was achieved by matching the values of citizen participation and ecological conservation. As a result of the comparison of perception types affecting the satisfaction by garden fair, satisfaction at the 2013 Suncheon Bay International Gardening Expo and the 2015 Seoul Gardening Expo, it was found that both affected all four aspects. The 2022 Goyang International Flower Fair did not affect satisfaction in the operational aspect. This seems to be because the Goyang International Flower Fair is already a fixed local brand. As a result of analyzing the detailed factors of perception that affect satisfaction, the three target sites were commonly analyzed, including social and cultural factors, which attract cultural events, improve pride and affection for the region, and help educate children. In terms of environmental and ecological factors were analyzed as an inconvenience in life due to traffic congestion. It can be seen that it has the same meaning as the comparative analysis of the difference in factors on the satisfaction of the target site. There is no difference in the effect on satisfaction in terms of social·cultural, and environmental·ecological aspects, but there are differences in terms of economy and operation. Based on the analysis results of this study, to hold a domestic garden expo in the future, it is necessary to properly utilize "environmental" and "ecological" garden aspects that have potential values according to the region's characteristics to develop sustainable, eco-friendly tourism resources. In addition, values will be more apparent when cultural and artistic programs are planned to establish a differentiated identity in the host area and are appropriately used as a marketing means for a local fair. A well-planned local festival through communication with local residents can affect the image of the region and lead to the revitalization of the local communities by securing urban competitiveness along with the establishment of urban brands, so it can be said that local residents' participation and national or local organizations' cooperation is essential.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.49-58
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• 2010

This study is attempted to establish the concept of Byeulseo Scenic Spot that the definitions of Byeulseo and Scenic Spot would be presented first followed by clarifying the basis, reason and justification that Byeulseo would be called as Byeulseo Scenic Spot that the following is the major results formulated herein. First, the concept of scenic spot under the Cultural Property Act is the reference to the famous site with the building improvement well known for its great scenery or the point where splendid scenery is viewed that has the artistic value along with the trace of human lives in this cultural heritage that, although the scenery is important but the attention has to be on discovery of historic resources with the story telling in the subject site. Second, the criteria of designation on the Scenic Spot in Korea would be natural scenery, animal and plant site with well-known scenery, view point of scenery, famous building or garden and important places with legend that there lacks diversification. In this aspect, the intent of the concept of Scenic Spot would be facilitated to expand the designation of the Byeulseo Scenic Spot as the Scenic Spot of living style. Third, from the foreign cases, particularly, in Japan, it is needed to note that Byeulseos and housing gardens are designated for 196 places of Scenic Spot, reaching 55.4% of entire Scenic Spots. Laws, regulations, systems and designated criteria on the cases of designating the foreign Scenic Spots would be studied and quoted. Fourth, the classification work for each type to designate as cultural heritage has to be continued as the Scenic Spot of subject site with even more emerged for the value as the Scenic Spot in garden, original site and the like classified as historic site, important folk data and the like. Fifth, the designation of Scenic Spot of Byeulseo garden with splendid scenery as the living Scenic Spot has to be expanded. The pavilion existed now nationwide would be approximately 1,500, and these pavilions are the place where the scholars stay in the famous site, and this is the central space of Byeulseo to study, and if there is clear one that has written and record of deed to create the stories to people with the value for publicity campaign, it would be the subject of Scenic Spot. And sixth, for the case of view point with splendid scenery in Byeulseo Garden, it cannot be the subject of designation that the designation of Scenic Spot has to be expanded. In the event of the Byeulseo garden in Korea, there are many cases of having outstanding view points, and there is a few case of designating the subject site with great view point as a Scenic Spot.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• (The) Research of the performance art and culture
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• no.34
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• pp.111-131
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• 2017

Korean Shamanism has long been regarded as the peripheral cult or supersition by the majoriy of the society. This fact is a result by the influence of the mass media, especially the motion pictures, which intentionally reflected the negative images of the Shamanism. The documentary films, which stress the objectivity and the reality, rather disclose the neutral position toward the Shamanism. In fact, the directors of the documentary films who have more or less close relationship with the Shamanism have tried to exhibit the mental world and the traditionality of the Shamanism. In this paper, I will explore the value of Shamanism reflected in the documentary films. I focus of two films; directed by the Korean and directed by a foreigner. In this way, I can compare the attitudes of the two directors toward the Korean Shamanism. The director of confessed that he was attracted by the aspect of a musical underlied in the shaman ritual. However, the film does not show the artistic beauty of the shaman music because the director failed to understand the essential aspect of the shaman ritual, that is, the music. In this way, the director failed to show the distinct characteristics of the shamanism to the audience. The director of , a music herself, was focused on the music of the shamanism. The story flows to the adventure to seek a "master" with a long journey to enjoy diverse genres of Korean performing arts. This story resembles the epic shaman song, the Princess Bari. In this way, the audience can easily grasp the beauty of Korean culture. Music is said to be a universal language and, at the same time, a non-universal language which reflects a special trait of a cultural community. The Korean shaman ritual music is a non-universal language that is an accumulation of the Korean culture for a long time. The Korean director fails to exhibit the essential characteristics of the Shamanism since he does not have enough knowledge toward the shaman ritual music in . However, the foreign director, who is a music herself, successively disclose the underlying beauty of Korean shaman ritual music and Korean traditional culture in .