• The Journal of Art Theory & Practice
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• no.3
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• pp.35-50
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• 2005

For us, any regional art exist? Almost all art events today take place mostly in Seoul. Concentrating on the reinforcement of its power, the regional art world remains isolated without any connection with the Seoul art community. It is completely closed off from the central art scene. The regional art world seems to consider that more helpful in consolidating its status. It is in real sense suffering the absence of art criticism and art media, lack of an understanding of art and backwardness of art education. Many regional artists are dreaming of moving out from their domain, aspiring to be a member of the central art world. They make an effort to assimilate into a refined, modern style of the central art circle, rather than striving to create works imbued with regionality and locality. As the artists living in the provinces, the characteristics of their district should be above all else reflected in their art. Although they are less informed about the latest trend of culture and art, their art has to be something passionately and obstinately embodying the intrinsic quality of their regions. They have to find a practical solution more positively, instead of merely complaining about the poor condition of the regional art community. There is the need to bring about a turnabout in our awareness that regional art is confined to any limit and cannot be in the center of the entire art world. What' s most significant is to dissolve factionalism and not to depend on school ties or regional networks. As a reaction against authoritarianism, regional art has to put emphasis on attaining its originality. For this, regional art should respect regional tradition, history and background and break away from an old convention of wielding power.

• Proceedings of the Korean Society of Computer Information Conference
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• 2009.01a
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• pp.31-34
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• 2009

ART2 알고리즘은 신경 회로망 모델로서 실시간 학습이 가능하여 저속 및 고속을 지원할 뿐만 아니라 지역 최소화(local minima) 문제가 발생하지 않는 장점을 갖는다. 그러나 ART2 알고리즘은 경계 변수 설정에 따라 클러스터의 수가 달라지며, 이러한 경계 변수 설정은 패턴의 분류와 인식 성능을 좌우한다. 따라서 본 논문에서는 ART2 알고리즘에서 효율적으로 경계 변수를 설정하기 위해 패턴셋 설정을 통한 경계 변수 설정 방법을 제안한다. 제안된 경계 변수 설정 방법의 성능을 평가하기 위해 숫자 및 영문 패턴을 대상으로 실험한 결과, 패턴 분류의 성능이 기존의 방식 보다 개선된 것을 확인하였다.

• The Journal of Art Theory & Practice
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• no.3
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Journal of the Korean Society for Library and Information Science
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• v.46 no.2
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• pp.175-197
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• 2012

The art museums in South Korea are mostly small-scaled institutions with small amount of art works. Thus, internationally accepted metadata standards such as CDWA and VRA Core may not be efficient to manage their collections. Because of these distinct local characteristics, there is a need to create a set of metadata elements that can be used for the art museum community in the country. This research aims to propose a set of metadata elements customized to fit into the context of small-scaled art museums in South Korea. The construction of the element set was not from scratch but on the basis of existing standards such as CDWA, VRA Core, and Dublin Core. By identifying core elements that are indispensable in describing art works and collecting opinions of experts in art museums, the proposed set of metadata elements is expected to support the operation and management of art works and satisfy the localized needs of the art museum community.

• Journal of Convergence for Information Technology
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• v.9 no.8
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• pp.123-133
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• 2019

This research empirically investigated halo effect in evaluating culture and art performance program. We diagnosed halo effect by using correlation analysis, factor analysis, and regression model on results and scores of fifteen evaluation indicators within three categories for the 107 Local Representative Performance Art Festivals in 2014 and 2015. The results indicates strong possibility of halo effect in culture and art performance evaluation. The correlation coefficients between evaluation indicators is higher than 0.5 and factor structure does not match with evaluation categories in both years. Scores in categories and standard deviations also are also significantly correlated with each other. The results implies that more sophisticated standard, diversification of evaluator, education, and meta-anlysis are need to control halo effect.

• The Journal of the Korea Contents Association
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• v.9 no.8
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• pp.350-359
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• 2009

This thesis in the social welfare-related institutions in the Seoul area, art therapy and the therapist based on the status of welfare-related agencies in the community of art therapy is to present possibilities and challenges. Research results presented by Health and Welfare, where seven of the 14 kinds of social welfare facilities, participate in the survey and the target organ, 45.1% of art therapy's role in social welfare-related institutions and gradually establish the location was the result. Art therapy is to conduct the current difficulties in institutions about the environmental factors related to a professional therapist and art therapist in the therapist's expansion as a major research and maintenance was network. Welfare-related agencies and community relationships we maintain mutual relationship, and are formed within the community have an effect on consciousness and collectivization. To provide the opportunity which realize the value in the art therapy by applying more to expand the variety of professional method. First, secure the facility of art therapy environment and the therapists. Second, if the art therapy association secures the integrated system, it makes a connection with professional therapists to improve recruitment environment in the art therapy community and therapists need to be addressed by all involved is a challenge. Third, a therapist for the duration of training in order to access a variety of academic and clinical research is the importance of the process of learning the training and supervision is to discuss the issue.

• International Journal of Advanced Culture Technology
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• v.10 no.1
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• pp.102-107
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• 2022

The emergence of independent cinema in the United States in the 1960s was the earliest sign of postmodernism in the country, which was often referred to as "underground cinema". The works, in a counter-cultural stance, overturned the thought of depth of traditional art cinema, not exploring the meaningful relationship between form and content in terms of artistic technique, but creating an aesthetic that echoed the "Pop Art" of the time by collaging established means of expression with traditional and fashionable ones in a consumerist manner. In this paper, American independent cinema was examined, firstly by analyzing the local and external factors that contributed to its rise. Secondly, two genres of independent cinema core paradigm, "underground cinema" and "pop cinema" were focused on, as a way of demonstrating the attention and influence that independent cinema has gained. Finally, we found that independent cinemas are also seeking for alternative exploration and diverse expressions in the context of the times.

• The Journal of Art Theory & Practice
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• no.3
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• pp.51-66
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• 2005

With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

• Culinary science and hospitality research
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• v.13 no.3
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• pp.68-79
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• 2007

The purpose of this study was to contribute to merchandising of native local foods. This study was designed to standardize the recipes and to analyze the nutrients of native local foods in Gijang region such as 'Myeolchijjigae', 'Galchijjigae' and 'Maejipjjim'. The test recipe for each food was prepared according to the information obtained from the personal interview of Gijang natives and then supplied for the sensory evaluation. After that, CAN Pro 2.0 was used for the nutritional evaluation. The results are as follows : Myeolchijjigae was preferred when radishes and traditional soybean paste were added. Galchijjigae was more liked when young pumpkins, mixed soy sauce and soybean paste were added. Maejipjjim was preferred with Aeji(Codium adhaerens), Warty sea squirt(Styela clava), soybean paste and powdered perilla seed(Perilla frutescens var. japonica) added. The analysis of nutrient composition revealed that in general energy content was low whereas protein content was as high as recommended requirement in Myeolchijjigae and Maejipjjim. Calcium and phosphorus were high in Myeol-chijjigae, vitamin A in Galchijjigae, and vitamin A, B_6$, folic acid, phosphorus and iron in Maejipjjim.