• Korean Association of Arts Management
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• no.56
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• pp.39-87
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• 2020

This study empirically analyzed the value conflicts of cultural administration based on the needs of axiological discussions and the differences in intersubjectivity among the cultural administration groups and the contradicting attributes of culture and administration. The study classified the stakeholders into administrative staff, planners, and artists to compare their value priorities of publicness in cultural administration. A classification analysis was also conducted based on the normative by each group and the value distribution on a 2×2 value matrix between autonomy and accountability and fairness and efficiency. Based on the results of the quantitative study, the awareness of the relationships among the groups and cause and effects of value conflicts was analyzed through in-depth interviews. Thus, the study aimed to identify the directions for value distribution wherein the values of administration and culture can coexist and determine the implications of expanding this mutual understanding. The results revealed that in the conflict between autonomy and accountability, all groups had a greater awareness of accountability. In terms of normative aspects, it was possible to see a normative value line with an emphasis on autonomy, rather than on accountability from the lower stages on the budget hierarchy (administrators at the top, followed by planners and artists). In the conflict between autonomy and accountability, the size of dissonance between appropriateness and reality was the largest among the groups in the lower stages of the budget hierarchy, and became larger along the order of administrators, planners, and artists. In the conflict between efficiency and fairness, all groups had a greater awareness of efficiency. In terms of fairness in normative aspects, emphasis was placed on was artists, administrators, and planners, in that order. The size of dissonance between efficiency and fairness by groups became larger along the order of budget hierarchy-administrators, planners, and artists. Based on the results, the study compared and analyzed the 2×2 value matrix between the normative and actualities by groups. The normative value distribution emphasized Type 1 (accountability x fairness) as seeking communitarianism values through culture and Type 2 (autonomy x fairness) as seeking balanced values of cultural freedom of individualsonabalance. However, in actualities, although the communitarianism values of Type 1 were considered important, there were no distributions to the liberal values of Type 2, rather to the economic values of culture from Type 4 (accountability x efficiency). In summary, the Korean cultural administration isunderapressureof value distribution to emphasize the communitarianism and economic rather than liberal values, through bureaucratic control in actualities compared with the normative. This study will have significant implications on value distribution decision-making by groups and political implementations within the purview of cultural administration.

• Korean Association of Arts Management
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• no.53
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• pp.179-206
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• 2020

The objective of this study is to derive key factors of commentaries in classical music concerts with commentaries and to measure the importance of each attribute, thereby presenting the characteristics of commentaries and commentators as well as suggestions to concert planners in terms of composition. In addition, by developing a scale that can measure classical commentary, a questionnaire is provided so that concert planners can plan programs that gathered the opinions of the audience. To this end, the first, second and third rounds of the Delphi survey and AHP were applied to concert planners, musicians (performing artists), and academic experts. A questionnaire was developed based on the results, and the survey was verified by conducting a pilot test with the general audience. The results of this study can be summarized as follows: First, the purpose of commentaries must be focused on arousing the audience's interest rather than on delivering information. Second, commentators must meet the auditory satisfaction of the audience with a good voice and clear pronunciation based on impeccable vocalization. Third, commentaries must be concise, with the commentaries appearing at least five times per concert, each of which must not exceed five minutes. Fourth, as a result of the pilot test, this study derived 14 items to rate commentary skills across four factors: four items for "arousing interest," three items for "delivering information," three items for "favorability," and four items for "expressiveness." Based on these results, the authors of study presented effective implications for concert planning.

• Journal of Information Science Theory and Practice
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• v.8 no.1
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• pp.20-32
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• 2020

Informational urbanism is a new research area in information science. In this study, art history joins informational urbanism: Are digital artworks in public urban spaces recognized as essential assets of a smart city? We employed case study research, working with the example of the huge digital media façade of the Arthouse Graz as an artwork in a public space. In a mixed-methods approach, we asked passers-by and interviewed experts on Graz as a smart city and on the Arthouse's role concerning the image of Graz as a smart city. The research found strong hints that indeed digital artworks with large screens or media façades at public spaces are parts of a city's weak location factors as well as of the city's urban structure and may symbolize the city's smartness. A practical implication of this finding is that artists, computer and information scientists, city planners, and architects should include interactive contemporary digital art into city spaces in order to demonstrate the city's way towards knowledge society.

• The Journal of Art Theory & Practice
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• no.14
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• pp.53-83
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• 2012

This thesis is a study of artistic measures and climate refugees, based on Hack's World Climate Refugee Camp project. According to Hack, climate refugees appeared with the process of globalization. Hack claimed that the people who put climate refugees in danger are the industrialized nations, and therefore, their rejection of refugees is nonsense. He also stated that the fundamental solution would be the active participation of such nations. Thus, he travels around the world, encouraging participants and globalizing his project. Interestingly, the practical participation method of his climate calamity project is divided into four methods, which are all related to realizing the danger and presenting various solutions. First, the aesthetic of survival: the reason Hack focused on the warming trend and claimed that we have to accept the climate refugees as refugees comes from the thought that we are all potential refugees, and the anxiety that climate refugees may cause war in the end. The solution Hack found for surviving in such a world is to create "refugee camps" to notify people about the seriousness of climate change, and to put the "aesthetic for survival" in action. Second, a relation-oriented relationship: communication between Hack and the participants was done in various ways. They are experiencing a bond and emotions of an interrelationship through their actions in the experimental field, experiencing a new form of art, which they were not able to experience in a museum. Third, a utopian measure: Hack's utopian measure started from the fear of dystopia but Hack still believes that it is not only a dream, but that it can be realized. He claims that even though the start may be feeble, it is possible to rescue children from starvation and to treat climate refugees as proper human in the end, when communication and cooperation is done the right way and properly. Fourth, the aesthetic of global relation, the internet: the new solution Hack is trying on the internet is to make more people participate in his project. It is fate that "human are the wrongdoer and the victim at the same time", but according to Hack's opinion, social disaster can be avoided through effort and it is optimistic that we can give form to the culture revolution we are experiencing now. Hack's project illustrated the importance of daily life, compared to art inside a museum, through active participation of the people and opened up a new method of art through realistic responses to disasters. This is distinctive from the past exhibitions, where artists gave shape and form to ideals and an imaginary world, in that it shows that the artist and audience aim for creating a community-like structure, just like Bourriaud's art method. Hack's project of climate calamity illustrates that installation and action art is not only an art genre which shows installation and activities, but that it can include social and political issues and that it can be completed with the help of participants, consequently becoming a genre of modern art. Hack raises a question about art's identity through various descriptions. Artists as planners, who base their artworks on their subjectivity or the characteristics of a specific period, the people as participants, the duet of art work and play, human and human, and further, human and nature. The practical participation method, as a measure for "disaster", reveals the new art of the 21st century within Hack's artworks. Even though there are several problems with Hack's usage of art as a measure for disaster, it will actively open up a new page for the 21st century's art with the theme of disaster.