• Journal of the Korean Society of Costume
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• 제65권5호
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• pp.126-141
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• 2015

The purpose of this study is to examine the works of choreographer Philippe $Decoufl{\acute{e}}$ and the performance costumes designer Philippe Guillotel, and identify the intrinsic values shown in the formative characteristics in their works. And it proposes a vision and a direction for the development and performance of modern fashion phenomenon of media convergence performing arts complex. The results were as follows. First, the performance characteristics shown in Philippe $Decoufl{\acute{e}}$'s art pattern applies dynamic improvisation, decategorization reflected in the media interactivity, time and space of a variable scalability, complex artistic genres and transcends cultural boundaries. Second, the characteristics of the performance costume can be described as a co-existence between dynamics of aesthetic layers, 'Media body' represented by the interaction of the compounds with the technology, and integrated variable expandability. And aesthetic values inherent in the performance costumes are summarized as abstraction, playfulness, reproducibility, and theatricality. Modern fashion performance and limited production of the center 'costumes' in the fashion images can be used in diverse ways, and innovative marketing has gone through a change in image production. Metaphysical text of the advanced performance genre can be presented in a new perspective to fashion derivatives 'Media body'. And the aesthetics of popular culture kitsch, the grotesque, and surrealism in theater will produce creative stage direction.

• Journal of Korea Entertainment Industry Association
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• 제13권1호
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• pp.89-98
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• 2019

Performing arts, for instance, theatre and dance that perform on the stage, should recognize the contemporary characters and also emphasize the trend of the times. Thus, the subject of those varies and provides the audience diversity contents and style. People who perform those try to put the contemporary characteristic and sociality into their stage by utilizing new technology for their stage to be more sophisticated in aesthetic and philosophic aspects. According to the trend of the times, science and technology have been making great progress. As a result, the stage technology continues to develop, contributing to enhance the aesthetic and philosophical completeness of the performing arts. Also, there are technical and formal researches or methods constantly that make the performing arts new and diverse. Therefore, it can be said that it is very important to widen a category of the performing arts that amplify the actor's acting and emotions on the stage and then give the audience an experience. This paper will analyze in the way which various image techniques utilize to widen the actor's technique in the performing arts and the actor's technique progresses in the era called the Fourth Industrial Revolution era that grafts the art onto new media. Through this paper, in the era of the Fourth Industrial Revolution, a new paradigm in actor's acting which is becoming a hot topic in performing arts is predicted and anticipated.

• Journal of Intelligence and Information Systems
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• 제20권2호
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• pp.1-17
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• 2014

The proliferation of using social media and social networking services affects the lifestyles of people. These phenomena are useful to companies that wish to promote and advertise new products or services through these social media; these social media venues also come with large amounts of user data. However, studies that analyze the data of social media within the perspective of information exchanges are hard to find. Much of the previous research in this area is focused on measuring the performance of exhibitions using general statistical approaches and piecemeal measures. Therefore, in this study, we want to analyze the characteristics of information exchanges in social media by using Twitter data sets, which are relating to the Mobile World Congress (MWC). Using this methodology provides exhibition organizers and exhibitors to objectively estimate the effect of social media, and establish strategies with social media use. Through a user network analysis, we additionally found that social attributes are as important as the popular attribute regarding the sustainability of information exchanges. Consequently, this research provides a network analysis using the data derived from the use of social media to communicate information regarding the MWC exhibition, and reveals the significance of social attributes such as the degree and the betweenness centrality regarding the sustainability of information exchanges.

• 한국체육학회지인문사회과학편
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• 제55권2호
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• pp.111-121
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• 2016

The purpose of this study was to establish a classification systems of sport culture contents for enhancing cultural competitiveness. The main research method for this was the Delphi survey based on the literature. Through a literature review, the definition of sport cultural contents and the classification system of major industrial countries were analyzed. The Delphi survey by a panel of 25 was conducted over a two-round. The results were as follows: first, the sport culture contents includes an artistic creativity, which have a working form that enables delivery to the public and organizing sports activities, and classify as a technology for high value-added content and services. Second, the 'culture' for the large category item, which include the cultural heritage and culture art. The 'media' recognize the importance of temporal concepts with traditional media and it was classified as new media. In the case of items in the large category 'events' are classified as national and international sporting events and festivals, the 'services' main category item is divided into social, care, educational services. Finally, the 'others' includes such as copyrighted items.

• Trans-
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• 제11권
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• pp.65-95
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• 2021

Grotesque, which has often emerged as a breakthrough in Western art to protest rational and classical pure beauty, is often seen in modern art. Grotesque, along with the concept of pendulum, appears in infinitely expanded forms across cultures, arts, and society. In particular, transformed body images through deformatization and deformatization of the body are interpreted as strong rejections that seek to break away from formalized beauty. The main purpose of this study is how the body reproduced through body deformation, distortion, and bonding in Dimitris Papaioannou's work can be interpreted within the grotesque category. To this end, he examines the Grotesque discourse and modern meaning underlying the interpretation of the work and identifies how the fragmented and expanding body, which is currently actively discussed in the dance world, has an interaction with Grotesque. It selects , , , and , which are the main attributes of the grotesque, focus on conflicting familiarity, life, hatred, and beauty. Based on this, we would like to confirm that in contemporary dance, the reconstructed body reveals concealed things rather than expressing an unrealistic fictional world, and seeks new possibilities beyond boundaries as well as reconsider existing aesthetic views.

• Journal of the Korean Society of Costume
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• 제62권5호
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• Asia Marketing Journal
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• 제15권4호
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• pp.223-241
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• 2014

In May 2012, the collaboration of Hana Bank, top financial service company, and SK Planet, top telecommunication service provider, introduced a new credit card that was filled with all-in-one benefits into the market. Leveraging strong infrastructure of two companies, each top in its own industries, the awareness and preference of 'Club SK Card' brand rapidly increased to about 25% in less than one year. Moreover, this new card was enthroned in the most sold credit card of year 2012, accounting for a market share of 7.2% in the credit card market and more than 80% in the mobile credit card market. To make these results possible, 'Club SK Card' marketing team developed an effective marketing communication strategy which followed the 6M model. The mission of the marketing communication strategy was simple and clear. It was to deliver the card's inherent strengths on consumer benefits that come from the support of subsidiary and affiliated companies of SK Planet. According to OK Cashbag data, the marketing communication team selected the appropriate target consumers and approached them directly, inducing actual purchase behavior. The target consumers received straightforward messages about 'Club SK Card' and were led to join in the new membership at their most frequently visited supermarket or franchise restaurant. The straightforward communication message embedded in an eye-catching commercial ad with a hook song accompanied with a dance was delivered via public media. The ad became so popular that many other television programs quoted or made parodies of the ad. Courtesy of the commercial ad, the brand name disseminated rapidly and widely among the public. In October 2012, an ingenious planning and persistent implementation of the communication strategy results 'Club SK Card' to be ranked top in brand awareness as well as advertising preference tests.

• Science of Emotion and Sensibility
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• 제13권4호
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• pp.635-646
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• 2010

This article focuses on Funology and a new classified application system based on concept of language and thought which are formed by body experience. It is defined by Funology Body as that. Funology Body is classifying and searching system which are consisted of a body, world (environment), and device tool. The body is sectioned by Brain, Eyes, Ears, Nose, Mouth, Hand, Torso, Feet, and Heart according as parts of the human body. This allows intuiting and experience searching as making classified system connected to the application relationship with concept of an each part of body. The Brain of the body is sub-classified by Book, Account, Business, Memory, Education, Search, and Aphorism to imply the application with thought. The Eyes take Video, Photography, and Broadcast for visibility. The Ears is categorized as Music, Instrument, Audio, and Radio for hearing. The Nose gets Perfume, Smell for olfactory sense. The Mouth is sectioned by Food, SNS, Chatting, Email, and Blog for eating and communication. The Hand sorts into Games, Kits, and Editing to handle, create, and play. The Torso is grouped by Health, Medical, Dance, Sport, Fashion, and Testyuorself related by protecting internal and meaning of the body core. The Feet is classified by Travel, Transportation, Map, and Outdoor for moving and concept of expanding the terrain. The Heart is consisted of Fear, Anger, Joy, Sadness, Acceptance, Disgust, Expectation, and Surprise for a human feeling. Beyond that, the World takes News, Time, Weather, Map, Fortune, and Shop, and Device tool gets Interface, Utilities. The Funology Body has a unique characteristic of giving intuitive and sensuous pleasure and reflection of users' attitude and taste for changing application flexibly.

• Journal of Korea Entertainment Industry Association
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• 제14권7호
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• pp.343-362
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• 2020

English is a stress-timed language that has a phonetic system in which the speech is restructured by stress changes. On the other hand, Korean is a syllable-timed language in which each syllable is pronounced at almost the same length and intensity, and Korean and English have distinctly different metrical systems in general speech. However, as the language of the lyrics in K-Pop music is mixed in both languages, Korean and English, the Korean lyrics in K-Pop music have a metrical system by stress changes as in English. The writer's view is that the change in the metrical structure of Korean lyrics is inevitable in order to sustain the new Korean Wave. Therefore, in this study, dance music - a major genre of K-Pop music that focuses on rhythm expression - is classified into 1998, 2003, and 2009 according to the changes in the Korean Wave, and the metrical structure of each period is compared and analyzed. Based on this, the current K-Pop metrical structure features are derived and the K-Pop Korean writing method is proposed that deviates from the existing limited writing method which allocates one syllable per note. The author hopes this research will be used as a methodology for writing lyrics in Korean songs in K-Pop, as well as a way to encourage the use of Korean lyrics.

• Trans-
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• 제4권
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• pp.1-36
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• 2018

This paper summarizes some of the contents of the 7th International Symposium "Classical Art and Digital" of the Transmedia Institute(TMI), held on October 31, 2017. The purpose of this year's International Symposium was to look back on the genre and the aesthetic history of classical art and to create a place for discourse about the recognition of classical art in the modern digital era. In the first part of the discussion about the duplication of the original and virtual imitation, three presentations on "Visual Image Art and Digital" were introduced. The conclusion of this first discussion is summarized by urging the movement of viewpoint as 'systematic change of the routine aesthetic process'. In the second part on "Performing Arts and Digital", we realize that we need to definitize the 'new directive term system' necessary for the era of digital convergence and performance. In this process we can refer to the need for the emergence of a new aesthetic basis. Two papers in the second part of the paper will introduce the study of 'dance' performance. Some of these studies are reintroduced at the conclusion. The theme of this year's International Symposium can be expected to provide a foothold for the forthcoming second 'Laocoon sculpture argue'. In short, behind the various controversies in the history of aesthetics, this year's conference is concluded with a call for the need to flexibly read the enormous flow of 'art' and 'mental heritage left by art'. It is said that this year's international conferences are presenting the basis of practical and systematic theories for the upcoming fusion media era.