• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• Korean Association of Arts Management
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• no.53
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• pp.71-99
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• 2020

This study focuses on the case of the National Museum of Modern and Contemporary Art, Korea (hereafter MMCA) that has faced the issue of securing autonomy as an art institution in association with the neoliberal logic of economy as part of globalization. The MMCA was opened with limited operational autonomy due to the government's development-driven national system and bureaucratic perspective. Since being selected as an institution subject to a range of restructuring consequent to the IMF crisis in 1997, the MMCA is being assessed for its operational autonomy since then. This paper examines the socio-cultural background of the implementation of the Korean type of 'Executive Agency' and 'Non-Departmental Public Body'. Furthermore, regardless of the result of either implementation or withdrawal after the projects, this paper explains how these administrative reforms lead the conflicts between stakeholders, which would promote the MMCA's autonomy. As a result, the institutional restructuring process based on the neoliberal perspective might result in the operational dilemma that must simultaneously fulfil the publicness in a different context. Moreover, unlike the original intent to establish a performance-based system based on the principle of competition while minimizing government intervention, this study illuminates that the influence of the nation(or government) as the actual agent of the projects may become permanent. It implies that since the establishment and development project of MMCA has initialized the concept of statism based on legal authority, the operational autonomy of the MMCA which is premised on the reinforcement of expertise and publicness cannot be prioritized over the direction and control of the government.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.347-357
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• 2020

This study intended to examine the nature of image which uses the network as the medium in the context of 'post-internet art' and categorize and analyze the cases of applications within art images. In the post-internet art which embraces the background of Web 2.0 and extended digital and network environment, image is transformed and re-mediated into various formats beyond fixed forms. Hito Steyerl defined the image, copied, downloaded, and reedited digitally in low quality as 'poor image.' Young artists, the digital native generation, capture and re-contextualize the changed network environment and depict it in various images. In this context, the application of image in post-internet art can be categorized and analyzed into the 'Image Collected as Material' produced by collecting and recomposing images found in social media, operating system, and website, 'Image Processed through Work' which is newly processed and re-contextualized by using editing programs, and 'Combined Digital-Reality Image' which represents the section of the digital society as the film and image that combine virtuality and reality.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.559-565
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• 2020

The study intends to use interactive multimedia art performances for rehabilitation exercises for patients with early dementia. The interactive performance is completed by communication and participation of the performer on the stage and the dementia patient, who is the audience, and through this process, the dementia patient performs efficient rehabilitation exercises with interest and immersion. For the study, the characteristics of early dementia patients and effective exercise methods are examined, and a program map is constructed so that the patient's performance viewing leads to participation and leads to rehabilitation exercises. Movements and sounds generated by the audience's participation are converted into MIDI signals of Sound Level, Pitch, and Velocity to become a performance that controls music and video in real time. Through this, the patient will be immersed in the rehabilitation exercise with interest and will be able to have a sense of accomplishment as a participant in the performance. In addition, this study has the significance of expanding the area through various uses and applications of interactive multimedia art.

• International Journal of Advanced Culture Technology
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• v.7 no.2
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• pp.52-59
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• 2019

The creative characteristics of Culture and Arts organization workers who connect consumers and producers of culture and arts(artists, creators, and producers) are very important in the culture and arts field. Where the cultural and arts organization workers are very important as their achievements are directly related to the appreciation of culture and art. The purpose of this study is to investigate the effect of creativity on cultural and artistic organizations workers regarding self-efficacy and work performance. The research was conducted on 208 people in national and public cultural organizations and art organizations in Gwangju Jeollanam-do. As a result of the research, originality and challenge of creative characteristics have a positive effect on self-efficacy. However, openness did not have a statistically significant effect on self-efficacy. In addition, self-efficacy has a positive effect on job performance.

• International Journal of Advanced Culture Technology
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• v.10 no.1
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• pp.10-16
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• 2022

This paper focuses on the aesthetic ideology and aesthetic style embodied in the work of 'Blue is the Warmest Color' to dissect it and examine the identity and construction of identity as a minority group in a postmodern context. Blue is the Warmest Color is a film that focuses on homosexual emotions in adolescent development, showing the budding love and emotional orientation of a 15-year-old girl's adolescence, and the ecstsy and torment that comes with an awakened consciousness. The evolutionary process of the characters' emotional orientations is dissected, pointing out that the central theme of the film is the concern for fluid identity and self-identity. Through the narrative and the setting of the characters' emotional patterns and the "Body Writing" of women, this paper further examine the typical variability and fragmentation of postmodern identity, and interpret in detail the content, messages and effects of the characters' dialogues in the film to illustrate the way in which the work expresses class and identity differences. The research method is based on textual analysis and theoretical research.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.235-240
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• 2022

Donggang Su-ho Jo(1924-2016, hereinafter referred to as "Donggang") was a calligrapher and literarti painter who was active in recent times. When he survived, he was called the first teacher respected by all in the field of world calligraphy. His perception of beauty is due to the art view embodied by human instinct. In particular, he considered writing and painting as art of contact(接), which means connecting. Therefore, the meaning of contact(接), is recognized as a kiss between men and women or love affair(雲雨之情). In this way, his literarti painting originated from a wide range of concerns and quests for art. He recognized the principle of art creation from a universal and general perspective on beauty. Based on this, the significance of true artistic spirit and art philosophy was established. If you observe the literarti painting of the Donggang with bamboo's literati painting and orchid's literiti painting, his bamboo's literati painting has the aesthetics of lusterless(無潤), and difficulty obscurity(苦澁). His orchid's literati painting is appreciated refinement(雅) and harmony(韻) made vulgar appearance(俗). His character and scolarship became his literarti painting.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.243-252
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• 2021

The Gwangju Daein Art Market, once declared as a declined market, was regarded as a success after an inflow of artists. However, the number of resident artists decreased from 100 at the end of 2015 to 39, to 9 in 2018, and to 6 in 2021. The project site showed signs of decline toward the completion of the project, leading to a Longitudinal study on the project's sustainability. The purpose of this study is to investigate the causes of outflow of artists and the network characteristics of the remaining artists from a sustainability perspective and thereby draw policy implications. As an analysis method, in-depth interviews and surveys were conducted. After that, we checked the remaining artists in 2018 and 2021 and identified the network characteristics. Based on the interview results, the causes of outflow were classified into programmatic, physical, and other factors. The results of a comparison showed that the levels of understanding, satisfaction, and frequency of exchange decreased. The study also provides policy implications. First, a sustainable, long-term program for the artists must involve the improvement of physical space. Second, participation in the market should be encouraged by working with artists on program composition or business progress. Third, programs for supporting exchange among artists should be further strengthened.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.291-298
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• 2023

The purpose of this study is to appreciate abstract art works in a deeper and richer way by analyzing and examining the blue symbols used in Hwanki's work "Universe". Research problems to realize the research purpose are as follows. First, what meaning and symbol does Whanki's work "Universe" contain, and second, what meaning and symbol does "blue" that embraces the universe contain. The method of this study is picture analysis through literature research. As a result of this study, Whanki's work "Universe" contains a cosmos that shows constant movement, circulation, and repetition as an introverted and performance expression of the universe, and the main symbol of "Blue" is a blue microcosm that repeatedly circulates heaven and the underworld.

• International Journal of Advanced Culture Technology
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• v.10 no.2
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• pp.69-78
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• 2022

The purpose of this paper is to summarize the cursive script of traditional calligraphy and develop further possibilities based on the study of the painting and postscript of Ink bambooo, which was painted by wu zhen(吳鎮) during the Yuan Dynasty. The second section in this paper provides a summary of wu zhen(吳鎮)'s life, in addition to "Ink bambooo" and its painting postscript. The third and fourth sections are focused on analyzing the cursive script in the painting postscript of Ink bambooo, including the left-and-right structure, head prefix symbols, and bottom prefix symbols. The aim of this paper is the study of cursive script, and the theories and methods of the characters proposed by Dr. Cai Yonggui (from Fujian Normal University) and Dr. Liu Dongqin (from Southeast University) will be used to provide a summary. The presentation of the research results of this paper is designed to develop further possibilities for this type of traditional calligraphy.