• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.132-151
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• 2021

The purpose of this study is to analyze the current status of and suggest future improvement practices for cultural heritage education in primary school. We analyzed a primary school textbook for each of five subjects (Korean, social studies, music, art, physical education), surveyed ten teachers with cultural heritage education experience, and analyzed the results. Based on the results, we made the following five suggestions: First, the goal of cultural heritage education should be expanded to foster citizenship. Second, in cultural heritage education, it is necessary to discuss what should be included in the educational content and to organize the content systematically in connection with the student environment, local community environment, and subject content. Third, cultural heritage education should be linked with sustainable development so that cultural heritage can be passed on from the present generation to future generations. Cultural heritage has characteristics, such as universal values of humanity, that transcend national boundaries, regional identities, dialogue and understanding between civilizations, and sources of creativity, and thus serves as the foundation for sustainable development. Fourth, for the effective implementation of cultural heritage education in schools, it is necessary to develop step-by-step teacher training programs. The success or failure of cultural heritage education in schools depends on teacher training. Fifth, the degree to which cultural heritage education is integrated into the curriculum should be strengthened, allowing learners to be educated so that they can cultivate knowledge and critical thinking about cultural heritage, enjoy and protect it, and connect with a sustainable society.

• Journal of Aerospace System Engineering
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• v.15 no.5
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• pp.24-32
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• 2021

Personal Air Vehicle (PAV), Cargo UAS (Cargo UAS), and existing manned and unmanned aircraft are key vehicles for urban air mobility (UAM), and should demonstrate compatibility for the design of aircraft systems. The safety assessment required by for certification to ensure safety and reliability should be systematically performed throughout the entire cycle from the beginning of the aircraft development process. However, with the increasing complexity of safety critical aviation systems and the application of state-of-the-art systems, conventional experience-based and procedural-based safety evaluation methods make ir difficult to objectively assess safety requirements and system safety. Therefore, Model-Based Safety Assessment (MBSA) using modeling and simulation techniques is actively being studied at domestic and foreign countries to address these problems. In this paper, we propose a Model-Based Safety Evaluation framework utilizing modeling and simulation-based integrated flight simulators. Our case studies on the Traffic Collision Availability System (TCAS) and Wheel Brake System (WBS) confirmed that they are practical for future safety assessments.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• International Area Studies Review
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• v.22 no.3
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• pp.293-317
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• 2018

In the era of glocalization, the role of the state is gradually being reduced and the roles of cities and regions are becoming more critical, especially for the everyday life of residents. Many attempts have been made to secure regional competitiveness based on local identity, to differentiate it from other cities and regions, and to search for methods of sustainable development. The importance of place, which affects human life-world, is getting to garner more attention whereas the large-scale development-centered approach has becoming less prominent. The objective of the study is to investigate the concept of place-making and to apply for the East Asian regions, which seems to be differentiated from urban cultural frameworks of the West. The paper employs comparative methodology for the placemaking strategies of the three case locations, say Mok-dong in Seoul, Koganecho in Yokohama and red town in Shanghai. By through examining the three stages of place-making for each three place, it reveals that cultural identity is quintessential in the East-Asian region. In conclusion, it suggests a sustainable place-making strategies for urban areas in East-Asian regional setting.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.203-210
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• 2021

Yuri Vasilyev - actor, director and drama teacher. Russian meritorious artist, winner of the stage "Medal of Friendship" awarded by Russian President Vladimir Putin; academician of the Petrovsky Academy of Sciences and Arts in Russia, professor of the Russian National Academy of Performing Arts, and professor of the Bavarian Academy of Drama in Munich, Germany. The physiological sense stimulation method based on the improvement of voice, language and motor function of drama actors. On the basis of a systematic understanding of performing arts, Yuri Vasiliev created a unique training method of speech expression and skills. From the complicated art training, we find out the most critical skills for focused training, which we call basic skills training. Throughout the whole training process, Professor Yuri made a clear request for the actor's lines: "action! This is the basis of actors' creation. So action is the key! Action and voice are closely linked. Actor's voice is human voice, human life, human feeling, human experience and disaster. It is also the foundation of creation that actors acquire their own voice. What we are engaged in is pronunciation, breathing, tone and intonation, speed and rhythm, expressiveness, sincerity, stage voice and movement, gesture, all of which are used to train the voice of actors according to the standard of drama. In short, Professor Yuri's training course is not only the training of stage performance and skills, but also contains a rich view of drama and performance. I think, in addition to learning from the means and methods of training, it is more important for us to understand the starting point and training objectives of Professor Yuri's use of these exercises.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.143-148
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• 2022

The subject of this paper is the practical examples of technoculture that critically thinks network technology, a strong material foundation in the era of data capitalism in the 21st century, and appropriates its socio-cultural metaphor as an artistic potential. In order to analyze its alternatives and the meaning of cultural politics, this paper examines the properties and influence of data capitalism after the 2008 global financial crisis, and the cultural and artistic context formed by its reaction. The first case considered in this paper, Furtherfield's workshop, provided a useful example of how citizens can participate in social change through learning and education in which art and technology are interrelated. The second case, Greek hackerspace HSGR, developed network technology as a tool to overcome the crisis by proposing a new progressive cultural commons due to Greece's financial crisis caused by the global financial crisis and a decrease in the state's creative support. The third case, Paolo Cirio's project, promoted a critical citizenship towards the state and community systems as dominant types of social governance. These technoculture cases can be evaluated as efforts to combine and rediscover progressive political ideology and its artistic realization tradition in the context of cultural politics, paying attention to the possibility of signifying practices of network technology that dominates the contemporary economic system.

• Korean Association of Arts Management
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• no.59
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• pp.33-72
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• 2021

I intended to discuss the new phase of the publicness of museums in a digital environment with the Goole Arts & Culture Project. To this end, I critically examined the instrumental approaches and technological optimism in the application of digital technology to museums, and scrutinized the recent museological issues, particularly the revision or curtailment of the museum's publicness amid the spread of neoliberal policy, which have been omitted within those technological approaches. This is because the meaning of Google Art & Culture can be considered more effectively through an extended theoretical reconstruction. Based on these theoretical discussions, I critically reviewed how the "non-profit," an important concept that defines the publicness of museums, was adopted and utilized as an business strategy by Google. As a result, I wanted to reveal that the neoliberalization of museums, the failure of the government's public function, the crisis of museum's publicness, and Google's "non-profit" strategy have been closely related. Armed with advanced digital technology, the GAC project appropriated the publicness of museums as a useful profit-making model. As such, now the concept of publicness of museums is at a point of more controversial and radical transformation than ever before.

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.21 no.5
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• pp.274-286
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• 2022

Multi-object tracking has been studied for a long time under computer vision and plays a critical role in applications such as autonomous driving and driving assistance. Multi-object tracking techniques generally consist of a detector that detects objects and a tracker that tracks the detected objects. Various publicly available datasets allow us to train a detector model without much effort. However, there are relatively few publicly available datasets for training a tracker model, and configuring own tracker datasets takes a long time compared to configuring detector datasets. Hence, the detector is often developed separately with a tracker module. However, the separated tracker should be adjusted whenever the former detector model is changed. This study proposes a system that can train a model that performs detection and tracking simultaneously using only the detector training datasets. In particular, a Siam network with augmentation is used to compose the detector and tracker. Experiments are conducted on public datasets to verify that the proposed algorithm can formulate a real-time multi-object tracker comparable to the state-of-the-art tracker models.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.59-67
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• 2019

This article examines how Brecht's Gestus is borrowed and transformed into the film. I examined the critical debates on the film's use of Brecht and the style of Brecht's acting adopted in radical experimental films and Hollywood films. In addition, through the case of Korean film actor/ress, I sought to apply the Brechtian theory. First, despite the criticism that the film's acceptance of Brecht is overly formal and mechanical, film theory and practice reflect Brecht's ideas. In particular, regardless of the socio-political situation of Brecht's day, his Gestus is suitable and useful for film acting. Brecht's thought was realized by technological innovations such as montage and computer special effects, and above all, the social attitude of the actor was popularized through the education of the audience. Second, his strategy on performance is no longer unfamiliar, and goes beyond the boundaries of contradictory daily life and art, and becomes the pleasure of popular film. Although the intentions of naturalism and anti-naturalism in acting arts are different, the process and effects look at the same point. Third, through the case of Korean film actor/ress as an attempt of popular understanding about Brecht strategy, I could confirm the possibility of searching identity of Korean film actor/ress.