• Archives of design research
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• v.20 no.1 s.69
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• pp.229-242
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• 2007

In Japan, a country renowned for her traditional respect for handicraft, superior craft techniques have been transmitted from generation to generation. Modern Japanese textiles reinterprete these traditional techniques in a new light and combine them with modern technology, to make modern Japanese industrial textile both futuristic and traditional simultaneously. This combining of new technology and handicraft serves as a reservoir for a remarkable diversity and originality in the development of new technology and design, and constitutes an important trend in modern industrial textiles. The aim of this study is to investigate the developmental background of Japanese textile industry that championed this trend to make the Japanese development unique in modern textile industries and to consider the concept of modern textiles as well as the structural innovation as represented by this new trend, thus contributing to the development of creative textiles for the present and the future. The findings of this study can be summarized as follows. The combining of new technology and traditional handicraft: 1) was made possible by Japanese consciousness that values traditional culture and by early recognition of advanced textile industry, which awarded new meaning and value to the traditional handicraft leading to an expanded social role for textiles. 2) helped construct a modern concept of textiles by pursuing textile media that are state-of-the-art, aesthetic, and highly sensitive to satisfy the requirements of modern industrial textile such as high quality, high performance, and high sensitivity. 3) enabled new design ideas and creation of new styles by implementing structural innovation in industrial textiles that involved diversification of expression, diversity in materials, and emphasis on texture. In short, by combining new technology and traditional handicraft, Japan came up with a new sense of aesthetics that is highly original and high level and with which the rest of the world can easily sympathize, thereby presenting one of the most important guiding principles for future textiles.

• Journal of Korea Technology Innovation Society
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• v.18 no.1
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• pp.28-48
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• 2015

This study is public R & D institutions report to verify what the impact factors on the course of progress of industrialization based on technology companies who previously received prior to the developed technology, what policies and plans for the next requirements based on this by offering the implications for business rate was to contribute to the improvement of the public research institution technology transfer. In this study, the influence factors on technology commercialization derived through the analysis of existing and previous studies, the characteristics of the previously received corporate environmental characteristics and previous technologies through a survey of the company received a technology transfer from public research institutions commercialization decisions and contributions, including sales and commercialization of the results were analyzed by logistic regression analysis demonstrated how to have relevance. Analysis, and linkage with high production company has an existing case of IT technology transfer, commercialization of higher technical success rate was higher compatibility. On the other hand, were observed and expected success rate were higher when a rather commercialized technologies independently be earlier than if participating in joint research in the development of the technology, unlike previously, completeness of the prior art did not significantly affect. This study has the following policy implications. Public research institutions have developed technologies are commercialized to figure out what the requirements of the technical aspects of consumer technologies in order to create economic wealth. And for technology commercialization for enough technical competencies to absorb the technology, and that the technology and considering the link between business and technology commercialization success to be applied. This study has some limitations. First, the sample size was not sufficient. In relation to the presence and participation of corporate success and commercialization of the R & D process, with many previous studies are needed more in-depth analysis by leading research in the sense that different results are obtained. Also did not reflect the will or the corporate culture, management and organizational skills and belongs to the external environment and internal corporate enterprises industry characteristics affecting the success of corporate management of the business. And lacked sufficient consideration of the various technical characteristics present in the form of joint research and industry. Finally, there is a limit of generalizations about other industries.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.12
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• pp.871-879
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• 2017

The purpose of this study is to propose a Busan tourism industry in which the 2016 OECD Tourism policy and ICT convergence platform are applied. OECD proposed 3 policies to promote the tourism industry: First, to maintain the competitiveness of the tourism industry as well as improve its efficiency and sustainability, second, to establish a seamless traffic system, and third, to build a response to the sharing economy. Centering on the OECD's three policies, we propose the developmental possibilities of tourism in Busan. At the same time, we suggest the necessity to build an ICT convergence platform that will help foster the industry. In building an ICT convergence platform, we especially focus on the necessity of: 1. Sharing and creating experience-based interactive contents on the software side, and 2. Developing high quality user experience (UX) and providing a data analysis-based customized service on the hardware side. In addition, we insist on the establishment of the Tourism Promotion Agency for the continuous performance and management of Busan tourism industry. The study ultimately suggests that the construction of ICT convergence platform based on OECD tourism policy can result in the expected outcomes of high effects with low cost for both consumers and suppliers related to the tourism industry.

• Review of Culture and Economy
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• v.20 no.3
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• pp.3-33
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• 2017

The present study analyzed movie consumption behavior from the perspective of transaction cost, taking into account the possible incurrence of additional costs in the process of consumers obtaining movie information to choose movies. Regression and multinomial logistic regression analyses were performed in the analysis by taking movie information and the individuals' social demographic characteristics as independent variables and the number and frequency of movies watched as dependent variables, using information from the "2015 movie consumer survey." The results showed that consumers considering elements such as "directors" and "online reviews" were found to be more active in movie consumption. The analysis of movie-watching frequency showed that the information considered when choosing a movie was different for high- and low-frequency movie viewers. Putting these factors together suggests that movie consumption can vary according to an individual's cultural capital, preferences, and their degree of movie information awareness. While existing studies have mostly analyzed the determinants of box office performance, the significance of the present study is its empirical analysis of individual movie information in terms of transaction cost. Based on the results above, it can be inferred that the cyclical structure of trading expenses influences movie consumption and, once preferences are formed through a certain level of consumption, the trading cost expenses decrease, which results in increasing consumption. Therefore, film makers need to establish and execute marketing strategies that appropriately use movie information so that consumers can reduce the trading costs necessary for movie watching.

• Journal of the Society of Disaster Information
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• v.8 no.2
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• pp.158-170
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• 2012

Citizens'income has been increased along with the trend of rapid changes in society, and the quality of their lives has been improved as well. As much as the degree of increase of quality of life, the number of spectators for performing art events, etc. who desire to fulfill their needs for enjoyment of varied cultural performances have been increasing, and also a large number of spectators enjoys a variety of festivals being held in each provincial area as well as international events: we still remember such frantic rooting shown by citizens during 2002 World Cup drawing attention and interest of entire nation. There are always risks of loss of human lives if accidents occur as there sult of close-packed crowd gathered at the same time. Therefore, it is required to prepare adequate security measures in order to prevent various accidents before hand. It is hoped that this research work would be of help for further efficient and systematic security management for the performing arts centers or public theaters encouraging the event organizer and the private security firm and the Korea Private Security Association to exert great effort and investments in further projects for development of security technology. Also, it is required to build a performance culture to consider audience's safety first from the beginning to the end of the event on the basis of efficient security management. Furthermore, spect at or sare required to recognize the fact that safety in the site for performing arts should be guaranteed for everyone's sake, and, to achieve this, they are obliged to be more cooperative with the event organizer and the private security firm, forming a trinity all together, in order not to have safety threatening situations in the site of performing arts events.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.111-122
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• 2019

The advent of the Fourth Industrial Revolution provides new civilized convenience, while the humanistic ecological environment is at stake. Therefore, looking at our culture and arts ecological foundations is ultimately for the preparation of a rich life for the future. Therefore, establishing a desirable cultural ecosystem begins with an enduring tradition of traditional art.This study examined the dancing characteristics of gabbigochanong-ag, which maintains the nongsapul-inong-ag performance pattern. Two field studies and image analysis studies showed that gabbigochanong-ag maintained the characteristics of traditional nong-ag, which strengthened the solidarity and cooperation of village community members and shared community identity. gabbigochanong-ag encourages the participation of the members of the village community through mechanistic dance movements based on soundness, imitative dance movements with minimal movement, repetitive dance movements, and communicative dance movements, As a result of the change, the members of the group were attracted to each other. Although gabbigochanong-ag was not sophisticated or sophisticated, it had a dancing structure that could create aesthetics and marginal aesthetics of slowness from the swiftness and convenience of civilization and bring harmony among the members of the community with warm emotion.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• (The) Research of the performance art and culture
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• no.34
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• pp.277-313
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• 2017

This study is to find out the correlation with buddhist music after analyzing the rhythm of six pieces of PanYeombul sung by Kim Janggil out of Ogu exorcism of East coast the findings summarized are as follows. First, PanYeombul by Kim Janggil, performed on Oct, 16, 2016, was composed of , , , , , , , , , , and . Still, even if PanYeombul is performed by the same male shaman, the composition can be added or left out depending on some circumstances, which means the procedures are flexible. Seeing that there is common component of in additoin to compared with Kimyongtaek, it can be said that the component of is an important part in PanYeombul of Ogu exorcism of East coast Second, is usually referred to 'SinmyojangguDaedalani' in buddhist ritual, While Kim yongtaek accepts this practice in title, Kim Janggil uses 'YeomhwajangguDaedalani' as the title which makes his song different from others. Yeomhwa means "picking up flowers with fingers" which has been used in buddhism, not in common Considering this fact, the conclusion can be reached that by using the term 'Daedalani' from a buddhist chant, but making differentiation from buddhism, Kim Janggil is making the effort to be different from buddhist rituals. give some unique meaning to shaman rituals. Third, PanYeombul of Ogu exorcism of East coast may be divided into two main parts - the former part is PanYeombul and the latter part is Jiokga. In performing PanYeombul, male shaman sits singing alone and playing Jing himself, on the other hand, in case of Jiokga, he stands singing a solo with gwaeggwari in his hand accompanied by other musicians with the rhythm of Samgongjaebi. As the song and the accompaniment are in the form of giving and taking like duet. it is in peak in terms of music. Accordingly, PanYeombul can be divided into PanYeombul and Jiokga, But since it is performed by one male shaman and sung a solo, it is usually seen as one procedure. Jing, which is a kind of accompaniment in PanYeombul by Kim Janggil, has the role to distinguish a phrase and settle the musical paragraph. When the buddhist chant with one word-one note is performed. it requires the performer to catch his or her breath or clear throat. Just then, Jing comes out for filling out the intervals. Also, its role to distinguish a phrase and settle the musical paragraph helps make it clear to deliver words. The rhythm of Jing is mostly made up of small triple time except equal small binary time, comes out with overwhelmingly more frequency of Sutsoe(♪♩) than Amsoe(♩♪), and often shows syncopation. By often using Off Beat or short-long rhythm even in accompaniment of equal small binary time, he tris to give some variation to monotonous and equal rhythm for the musical vitality. These are similar to Sutsoe rhythm which can evoke tension and Kim Janggil makes these things his characierisiic of rhythm. Fifth, all the pieces consist of mi, sol, la, do, re and the descending melody like do'${\searrow}$la${\searrow}$sol${\searrow}$mi appears most frequently. The descending melody usually arouses the feeling of sorrow, so the sadness for the deceased is presented properly, which suggests his musical talent. Generally, pieces take on Menari-tori as a whole where the length of sol appears for a short time in descending la${\searrow}$sol${\searrow}$mi of perfect four degrees. Sixth, Even he accepts the lines of buddhist chant, he changes them in some degree. For example, he inserted some words between lines like 'Wonwangsaeng' and 'NamuAmitabul' and added Korean words like hapsosa to the lines of buddhist service written in Chinese character. Also, he inserted some words like 'iiiiiii~' to express the feeling of sadness. These are to maximize the desire of the deceased to go to the heaven and at the same time to diminish the sign of buddhism and strengthen the features of shamanism. Seventh, the effort to decrease the sign of buddhism is made in pasting lines of two songs. For example, Between the last words 'Wonsuaenapsu of Dage and the first words 'Jisimgwimyeongrye' of Chiljeongrye, there is usually a short pause to distinguish paragraphs, But he continues two songs without any pause to get rid of the feelings of buddhist chant. In terms of melody, he makes a distance from buddhist chant in an effort that he gives some traits to shaman rituals which are different from buddhist even if he uses the lines of buddhist rituals. Eighth, the analyzed pieces can be in four categories - no regular melody , , equal small binary time , eotmori melody of ten eighth time with 3+2+3+2 mixed small time . and Samgongjaebi melody 3+2+3 mixed small time . Each piece has its unique melody. Although of buddhist ritual is often performed, by using eotmori melody, he evokes the feeling of shaman and is another example of giving unique characteristic to the shaman of East coast by using Samgongjaebi melody.

• Journal of Intelligence and Information Systems
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• v.19 no.1
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• pp.79-94
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• 2013

Recently, the high value added business is steadily growing in the culture and art area. To generated high value from a performance, the satisfaction of audience is necessary. The flow in a critical factor for satisfaction, and it should be induced from audience and measures. To evaluate interest and emotion of audience on contents, producers or investors need a kind of index for the measurement of the flow. But it is neither easy to define the flow quantitatively, nor to collect audience's reaction immediately. The previous studies of the group flow were evaluated by the sum of the average value of each person's reaction. The flow or "good feeling" from each audience was extracted from his face, especially, the change of his (or her) expression and body movement. But it was not easy to handle the large amount of real-time data from each sensor signals. And also it was difficult to set experimental devices, in terms of economic and environmental problems. Because, all participants should have their own personal sensor to check their physical signal. Also each camera should be located in front of their head to catch their looks. Therefore we need more simple system to analyze group flow. This study provides the method for measurement of audiences flow with group synchronization at same time and place. To measure the synchronization, we made real-time processing system using the Differential Image and Group Emotion Analysis (GEA) system. Differential Image was obtained from camera and by the previous frame was subtracted from present frame. So the movement variation on audience's reaction was obtained. And then we developed a program, GEX(Group Emotion Analysis), for flow judgment model. After the measurement of the audience's reaction, the synchronization is divided as Dynamic State Synchronization and Static State Synchronization. The Dynamic State Synchronization accompanies audience's active reaction, while the Static State Synchronization means to movement of audience. The Dynamic State Synchronization can be caused by the audience's surprise action such as scary, creepy or reversal scene. And the Static State Synchronization was triggered by impressed or sad scene. Therefore we showed them several short movies containing various scenes mentioned previously. And these kind of scenes made them sad, clap, and creepy, etc. To check the movement of audience, we defined the critical point, ${\alpha}$and ${\beta}$. Dynamic State Synchronization was meaningful when the movement value was over critical point ${\beta}$, while Static State Synchronization was effective under critical point ${\alpha}$. ${\beta}$ is made by audience' clapping movement of 10 teams in stead of using average number of movement. After checking the reactive movement of audience, the percentage(%) ratio was calculated from the division of "people having reaction" by "total people". Total 37 teams were made in "2012 Seoul DMC Culture Open" and they involved the experiments. First, they followed induction to clap by staff. Second, basic scene for neutralize emotion of audience. Third, flow scene was displayed to audience. Forth, the reversal scene was introduced. And then 24 teams of them were provided with amuse and creepy scenes. And the other 10 teams were exposed with the sad scene. There were clapping and laughing action of audience on the amuse scene with shaking their head or hid with closing eyes. And also the sad or touching scene made them silent. If the results were over about 80%, the group could be judged as the synchronization and the flow were achieved. As a result, the audience showed similar reactions about similar stimulation at same time and place. Once we get an additional normalization and experiment, we can obtain find the flow factor through the synchronization on a much bigger group and this should be useful for planning contents.