• Journal of Gifted/Talented Education
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• v.17 no.2
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• pp.365-391
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• 2007

As a previous study to investigate recognition gap of creativity between Korea and America, this study has examined Korean university students' implicit creativity toward Korea and America. The research method using in this study was as follows: The subject were university students in Korea, and they were asked to answer multiply for open-ended questions. For the analysis of the answers, a frequency analysis was used. The results were as follows: 1) It showed that Korean university students considered creativity trait as cognitive trait, personality, cultural trait, research and development areas and arts areas. This result means that Korean university students tend to recognize creativity similarly to the ways of established theories of creativity. 2) For the case of Korea, environmental trait like sociocultural background had great importance for all cases of creativity trait and non-creativity trait. 3) American creativity was recognized focused on individual tendency, on the while, community spirit was considered as creativity trait in Korean creativity. 4) It is considered that American culture had better condition for displaying creativity than Korean culture. 5) Traditional culture of Korea was recognized as creativity trait in terms of originality and superiority, and the possibility of modernistic use of Korean culture. 6) Creative people were ranked by artists, executives, rulers and scientists who were well-known to Korean university students. 7) In the comparison of creativity trait between the two countries revealed the traits of creative people, American creativity was reflected more than Korean creativity, This result seems that those people were favored by Korean university students who were familiar with American culture. In conclusion, this study has found another possibility of creativity of the East among cross-cultural creativity studies. Moreover, this study has suggested that traditional culture and tradition renewal, and values of the East are superior cultural resources which are not exist in the West, and those are expected to play a role in developing creativity.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.518-527
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• 2020

360 VR technology is used not only in movies, but also in performing arts such as music, theater, dance, and so on due to the characteristics of immersion and presence. The technology allows the audience can be perceived a feel of participation in a story. This study is conducted an analysis of the techniques of 360 video shooting in order to find the answers of the following questionaries: how to make viewers enhance to a better understanding of a space, how to make the viewer feel comfortable ceding control of the experience, how to generate greater empathy with a 360 video. Thirty cases were analysed 360-degree videos of live performances performed on stage among 360-degree images of music performance content shared on Youtube from 2015 to 2020. The result shows that live performances are performed with the audience, so the stage shape and the layout of the audience seats are preferred to the characteristics of the performance. It was also shown that directing using a 360 VR camera was also greatly affected by the stage and audience placement. The stage is manly classified into three types, and the camera layout and characteristics mainly used are organized according to the number of 360 VR cameras, whether fixed or mobile cameras are used.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.1119-1126
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• 2023

This study measured the social value of social economy enterprises in Incheon Metropolitan City using the Social Value Index (SVI) developed by the Korea Social Enterprise Promotion Agency. The results showed that the social value orientation of the business activities of SSEs averaged 9.3 out of 15 points, and their innovation efforts were 8.0 out of 10 points. The average monetary and non-monetary social contribution efforts of SSEs was 5.1 out of 10. When comparing the average sales and social value scores by industry, the manufacturing sector shows that social enterprises have higher average sales and social value orientation of business activities, but lower social return efforts. Social work facility management and business support services have high average sales, but low social value orientation of business activities and efforts to make monetary or non-monetary social contributions. On the other hand, education services; arts, sports, and leisure-related services; and publishing, video, broadcasting, communication, and information services have lower average revenues but higher social value orientation of business activities. These SVI indicators are well utilized by local governments, but not yet by the central government. In the future, governments and public institutions should reflect the differences between sectors when formulating policies for social enterprises.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.73-83
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• 2023

This study is a descriptive survey to develop a gamification e-learning class based on self-determination theory and to check its effectiveness. The data collection period was from March 1 to June 15, 2023, and 59 students at G University in G Metropolitan City were surveyed on class participation, learning immersion, and teaching presence before and after the course. IBM SPSS/Win 26.0 was used to analyze the collected data, and descriptive statistics, analysis of variance (ANOVA), and analysis of covariance (ANCOVA) were conducted. The results showed that the self-determination-based gamification class significantly improved students' class participation, learning engagement, and teaching presence (p<.05). An analysis of covariance (ANCOVA) was conducted to determine whether the general characteristics of the participants affected the results of the post-test, and gender affected the post-test results of learning engagement, with an effect of 7.9%. Based on the results of this study, it can be seen that self-determination-based gamification e-learning class is effective in improving learners' class participation, learning engagement, and teaching presence. As the demand for e-learning in universities is expanding, self-determination-based gamification e-learning classes should be developed in various fields of liberal arts and majors.

• Journal of the East Asian Society of Dietary Life
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• v.25 no.5
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• pp.779-790
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• 2015

The purpose of this study was to determine the awareness and preference relating to traditional food and yaksun food by university students majoring in culinary art and foodservice in the Daegu and Gyeongbuk area. This research carried out an investigation on 492 (male 257 and female 235) students. 'Awareness of traditional food' was gained through school education in male students (37.4%) and female students (46.7%). For 'the most-favored traditional food', 260 (male 138 and female 122) students most often responded galbijjim, followed by bibimbap, bulgogi, and kimchi. For 'the part that requires the attention most in improving traditional food', variety of taste received the highest votes by 109 male students (42.4%) and 98 female students (41.7%). For 'awareness for yaksun food', the most popular paths were TV, newspaper and the Internet in 123 male students (47.9%) and 139 female students (59.1%), where as 97 students answered school education (19.7%). For 'the part that requires the attention most in developing yaksun food', variety of taste received the highest votes by 103 male students (43.8%) and 106 female students (41.2%), which was the same result for the development of traditional food. For 'awareness on the possibility of popularization of traditional and yaksun food', needs for food development received the highest score of 3.99 (male 3.99 and female 3.99) by 5-point Likert measurement. In conclusion, high awareness levels of health, traditional food, and yaksun food in university students in Daegu and Gyeongbuk majoring in food-service will contribute to a healthy food culture. Further, this research will have a large impact on development of various convenience foods in the food-service industry as well as home.

• Journal of the East Asian Society of Dietary Life
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• v.24 no.3
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• pp.407-420
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• 2014

A survey was carried out regarding university students' recognition of high-caffeine energy drinks in an effort to identify and improve problems as well as provide basic data. Most of the subjects had previous experience of energy drink consumption. Studies showed that most students consumed energy drinks when studying. Regarding frequency of energy drink consumption, most students' responded "1~6 times a year"; female students showed lower frequency of energy drink consumption than male students. Both male and female students used convenience stores to purchase energy drinks. In most cases, students became aware of energy drinks through advertisements on TV, radio, newspapers, and magazines. The most important factor affecting their energy drink purchase and consumption status was taste. The most frequent adverse effect they experienced after drinking an energy drink was unusual heart-pounding, whereas the biggest problem caused by energy drink consumption was addiction. This study indicates that students should have a better understanding of the problems associated with excessive and prolonged high-caffeine intake. In addition, instructions for proper purchasing and consumption of high-caffeine energy drinks should be provided as well as education and campaigns concerning symptoms caused by high-caffeine energy drink consumption so that students may refrain from excessive consumption. Further, civil organizations and the government need to devise effective measures for proper regulation of high-caffeine energy drink consumption.

• (The) Research of the performance art and culture
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• no.39
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• pp.609-635
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• 2019

This study analyzed five official entries in the 3rd Cheong Kong Festival contest and analyzed the patterns of teen audience empathy. The tools used for this analysis were 'characters, acting, background and theme'. Firstly, characters were mostly teenagers and out-of-school teenagers, but there were other performances that focused on the relationship between teenagers and adults or focused on the youth, which the teen audience preferred. And they preferred realism acting to emotional acting and preferred musical acting to realism acting. In addition, the background of the events covered in the performance was evaluated to be like this: the closer the audience was to the youth, the higher the audience sympathized with the performance, and the closer the subject matter was to the youth's interest, the more positive it received. In summing up the opinions of the youth evaluation team, the first audience-participating Sinpa Theater, "Mr. X" was evaluated to expand the scope of teenagers to 20s and to show the negative and heavy reality as fun and beneficial one. Secondly, when it comes to non-prejudiced youth theatre "The Turtle", which have a high level of empathy, it was evaluated to shape the prejudice about others through the symbol of 'bag'. Thirdly, regarding the time-traveling retro-style youth theatre of the 'a jam-packed Bus', it was evaluated to be a well-made retro-style youth theatre. Regarding the 'Lunar Eclipse', which showed the aesthetic of the relationship, scenes were evaluated to be built with omission and restraint. Regarding "B Officer on and Love Letter", it was evaluated to be adapted to a musical from Hyun Jingun's novel, which was released 100 years ago. Lastly, the performance desired by the youth evaluation team was a performance with a high level of 'sympathy' and 'education'. In other words, they preferred performances that empathize with the emotions and thoughts of teenagers, and on the other hand, they wanted to see performances that allowed them to see the world broadly outside their own worlds. If youth theater is created by referring to the evaluation of youth as it is in this study, the audience will be more sympathetic to performances.

• 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.

• Korea Science and Art Forum
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• v.27
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• pp.277-288
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• 2017

The number of science museums in Korea has expanded quantitatively from 72 in 2008 to 128 in 2016. This study started with the fact that the government puts a lot of budget into building a science museum, but there are more than one quarter of science museums with less than 50 spectators per day and many inefficient institutions. The number of visitors is an important factor in improving the efficiency of the science museum operation. The purpose of this study is to analyze the relation between the service quality of the science museum and the customer satisfaction and the intention to revisit and to find out what kind of effort should be concentrated in the science museum to attract more visitors. Questionnaires were written in the exhibition, education, and culture fields of the Gwacheon National Science Museum. The results were derived by frequency analysis, reliability analysis, factor analysis, and multiple regression analysis. The results and contents of the study are as follows. First, in the field of exhibition, the quality of exhibition facilities was expected to affect customer satisfaction and intention to return, but did not have a meaningful relationship. Second, the education sector has been found to affect customer satisfaction and return intention in all aspects of service quality (operation and contents, instructors, educational facilities and environment). Third, in the field of culture (event), the quality of the cultural program influences the visitor satisfaction, but it does not affect the intention to revisit. The science museum can provide satisfaction to visitors by combining activities such as science and arts. Despite the limitations, it is necessary to make efforts to improve the visitor satisfaction and revisit by proceeding with the convergence research on the entire National Science Museum in the future.

• Journal of Korean Home Economics Education Association
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• v.30 no.3
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• pp.129-149
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• 2018

This study has attempted to analyze the achievement standards in the 2015 revised curriculum, based on the revision of Bloom's Taxonomy and aims to identify the knowledge and required competencies in the fourth industrial era. The results of this study are as follows: First, the knowledge dimensions was the highest 'metacognitive knowledge' in middle school, while 'factual knowledge' was the highest in high school, and 'knowledge of specific details and elements' was the highest subtype of all of the knowledge dimensions. The dimensions of the cognitive process, such as the terms 'apply' and 'analyze' in middle school, as 'understand' and 'evaluate' in high school have been treated inattentively. Second, the knowledge dimension and the cognitive process dimension according to key concepts display the metacognitive knowledge and 'understand' in development, the conceptual knowledge and 'understand' in relationship. While the 'metacognitive knowledge' and 'apply' in life culture, the 'procedural knowledge' and 'evaluate' in safety, the 'factual knowledge' and 'apply' in management and the 'metacognitive knowledge' and 'understand' in life design were extremely high. Third, the verbs used in the achievement standards displayed as 'explore', 'understand', 'analyze', 'practice', 'suggest', 'recognize' and 'evaluate'. Since the statement of the action verb is the very basis for determining the performance process, specific competencies may be achieved by reflecting on the actual achievement standards. These standards should provide us with a effective cognitive process for to understand a learner's performance skills and support the direction of the education required, through a strategy that refines the connection between content elements and functions and develop their competences for the future.