• Trans-
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• v.2
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• pp.59-73
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• 2017

It was after mid 1990s that convergence of art and technology had become a critical issue and governments set new support system for its enrichment. Since then, the government continues to expand support programs to extend integration of art, culture and other genre including technology because nexus, convergence has regarded important competitive factors in cultural policy. The concept of convergence and complexation in culture and art has been a very attracting issue since it appeared and accordingly various policies are supported. However, there are still numerous issues and problems to be solved along with discussion. This paper summarizes government policies to support convergence and complexation of culture and art in Korea and overseas and looks into their trends and cases and then suggests development of future policies and supporting businesses.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.397-405
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• 2022

NFT art is a new art formed based on NFT technology. This is attracting great attention in the existing art world and art market. Therefore, it is required to analyze whether NFT art can establish itself as a new area of art. Therefore, the formation and development process of NFT art is analyzed from the perspective of Actor-Network Theory of Science and Technology and Studies, and the case of NFT artist 'beeple' is a representative example. It also discusses the artistic value of NFT art and its relationship with traditional art networks based on the aesthetics of science and technology researcher Graham Harman. In particular, it analyzes the future and genre sustainability of NFT art through the case of NFT project "Cryptopunks" and "PUNKISM" advocating a new art genre. By analyzing NFT art with ANT, I would like to raise a technical, aesthetic, and philosophical questions and propose a positive prospect as a new art genre.

• 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.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.156-171
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• 2012

It is the time of the Korean Wave booming throughout the world, placing Korean culture in the center of the world and its added value is unaccountable. At this prosperity, the preserving of the archetype of Korean dancing and digital contents making is becoming a task not only for the government but also for the private sector because culture industry has enormous added values. To achieve such goals, contents development is an urgent matter but establishing the value of the archetype of Korean traditional dancing must have priority. The public has to take an active role in rediscovering the values of traditional culture, and as the representative of Korean identity traditional dancing must be the object of a systematic art policy. This study will review the current status of 'digital contents program of the archetype of culture' for traditional dancing and will reconsider the modern value of preserving the archetype of culture to make a suggestion to the direction of culture art policies in the near future. The study acknowledged the lack of technical personnel majoring in the archetype of traditional dancing and the need of reviewing the credibility of historical research procedures. Even with the studies by industry-university collaboration and positioning of specialists, effective policies that will form the foundation for private firms to train personnels is in urgent need. In other words, training personnels, allocation of resource, securing funds, policies promoting collaboration between private and individual businesses, and the commercial recognition at private firms are still far from establishing. This is due to the fact that archetype of culture is not a business that creates revenue immediately, therefore the recognition of traditional dancing as an investable item by business-oriented firms or movements are difficult to find. To overcome such situation, software oriented policies that establish open communication and sharing with the public should be done at first rather than the quantity oriented hardware policies of contents development. Through this process the public can change the attitude on traditional dancing and traditional dancing could be newly recognized as a creative repository of culture and as public businesses giving birth to economic value.

• (The) Research of the performance art and culture
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• no.41
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• pp.5-38
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• 2020

The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s~1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. "Public culture and arts" halls or "culture" halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined "culture and arts" as "matters regarding literature, art, music, entertainment, and publications." The definition became a ground for the current "multi-purpose" concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of "culture and arts" and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of "culture=arts=culture and arts" in his speeches. Arts belonged to the category of culture, but it was considered as "culture and arts." There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the "culture and arts = multiple purposes" of the system, "culture ≠ arts" of the cultural organization that pushed forward its establishment, and "culture and arts = arts" perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into "expansion of opportunities for the people to enjoy culture" to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of "culture and arts" in the Culture and Arts Promotion Act enacted under the Yusin system of the Park regime. The "multi-purpose" concept, which was the management goal of public performance halls, was born based on this. In this context of the times, proscenium performance halls of a similar structure and public culture and arts halls with a similar management goal were established around the nation, leading to today's performance art and culture in the nation.

• Korean Association of Arts Management
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• no.58
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• pp.89-119
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• 2021

This study empirically analyzes the factors that affect the people's enjoyment of pure culture and arts, especially art exhibitions. We use 56,588 sample data from the "The Survey of Cultural Enjoyment" collected by the Ministry of Cultrure, Sports and Tourism over the last 10 years and perform multiple regression and Multi-Way ANOVA to analyze the effect of individual's cultural experience on art exhibit visits. The results of the analysis show that the experience of participating in culture and arts events, culture and arts education, and participation in culture and arts clubs have a positive effect on the art exhibition visits. We also identify the positive interaction effects between the three independent variables. In other words, it was found that the average number of visits to art exhibitions was higher for groups who had experience of participating in culture and arts events, culture and arts education, and culture and arts clubs. This study provides a first empirical analysis on personal factors influencing art exhibition visits in Korea and lays the groundwork for future studies in developing a comprehensive predictive model for cultural art visits. In addition, we give policy implications and suggestions specifically, mid-term policies related to promoting art exhibition visits as an extension of individual's engagement with pure culture and arts through big data analysis.

• The Journal of Art Theory & Practice
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• no.2
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• pp.121-146
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• 2004

Compared to the influences of Korean art journalism, the researches on them are rarely conducted. This study aims to examine the influence of art journalism in art magazines in Korea. Although it is essential to consider media, journalism, public opinion altogether, I focused only on the media due to the absence of previous studies I have analyzed the current conditions of korean art journalism, types of feature articles, sponsors, their relations with articles and the comparison with foreign art journalism in terms of production conditions. There have been about one hundred art magazines published in previous sixty years and currently there are twenty three. Monthly periodicals are the majority: the publishers are sorted out as publishing houses, galleries, newspaper company in order specialized art magazines developed from the eighties. Through an examination of feature articles in these art magazines, I found that they repeated similar art issues and covered the same artists sponsors and articles. Moreover, when the magazines went through the conflicts between managers and editors, the ascendency of managers obstructed the development of art journalism regarding journal quality. These days, art journalism have been comparatively regressed compared to other art systems such as art museums, curatorship, international aft festivals, distributions and art promotion policies. The main causes for failure were the lack of professional management, the limited effort to diversify sponsors, and the repetition of the same informants and events without making an effort to be specialized Magazines are published media which contribute to the creation of culture, distribution, and preservation. Therefore art magazines can be said the most influential media in forming art culture and distributing it. It is quite necessary to reform the problems of repeating of information and the lack of speciality in conjunction with the commitment of management and editorialship.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.176-181
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• 2008

This study aims at providing developmental process for art and cultural space putting into an alternative in pursue of territorial arts and applicable tourist resources by bridging connectivity between arts and tourism. It overviews art promotional policies by a variety of associations since the end of 1990s, focusing on studios for art creation, while attempting to develop effective and practical operational process by analytically identifying in detail various touch points possibly occurrently in the field of arts and culture.

• Journal of Agricultural Extension & Community Development
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• v.8 no.2
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• pp.285-298
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• 2001

Rural youth welfare was defined to provide the preventive services as well as the protective and curative services such as education, job training, youth activity, delinquency prevention, etc. for rural youth who live in rural society, including who go out to metropolitan city for study. Based on this concept, the rural youth related facilities and problems were investigated in the area of education, culture and leisure, career, and problematic behavior. The results were identified that the efforts of government and rural related institutions were in sufficient to establish and improve the facilities for rural youth, and the gap between rural and urban youth facilities was extended increasingly, in spite of seriousness of those rural youth problems. Some of policies and programs were proposed in order to improve rural youth welfare; 1) To establish at least one activity facility in every Eup ; 2) To convert the public culture facilities such as museums, fine art museums, exhibition facilities, etc. into the culture and art facilities for rural youth; 3) To establish rural youth job information center in the agricultural technology and extension center; 4) To convert school to rural youth education and cultural center; 5) To establish the comprehensive welfare facilities for rural youth in metropolitan city.

• The Korean Journal of Archival Studies
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• no.74
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• pp.79-117
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• 2022

In recent years, the term "art archives" has become increasingly popular, with the growing use of archives in exhibitions and program planning within domestic cultural and arts institutions. The need for art archives has been raised for reasons such as establishing the identity of art and culture and providing basic resources for academic research; however, they are now being recognized as a direct resource and service for users. Accordingly, research has also been conducted on the values, policies, and management practices of art archives in the archiving field. Nevertheless, there is a lack of research on management methodologies that can be applied to institutions that manage art archives. In particular, for the efficient use of art archives, classification, organization, and systematic management of descriptive areas must be preceded. But, There are different methods of managing art archives depending on the type of collection, the management institution, and the characteristics of the collection resources, which, in turn, makes it difficult to apply a consistent methodology for classification and description. Based on actual cases from The Art Archives, Seoul Museum of Art, this study examined the types and categories of arts, and presented the establishment of a classification system and archival description rules.