• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.371-411
• /
• 2011

In the twenty first century of rapid cultural change performing art requires new mode of expression based on imaginative power and creativity as well as establishing its own identity. The modern technological environment support this with advanced technology and bring about the expansion of reason from new experience. The introduction of digital media on artistic expression in particular, expands the physical ability of human body which is the main subject of performing art. A virtual body from digital technology is freed from physical boundaries and goes over space and time. It also suggests the possibility of new mode of communication with audience. This study aims at examining the subject of performing art and its digitalized movement focusing on EveR, the world's first professional robot actor. The robot actor which came on stage according to the new expression medium, a digital body, stands in need not only of technological value but also of cultural and artistic application for expression in art. In this endeavor to meet the demand, this study examines the development process and function of 'EveR' the robot actor. Also it searches into the performance of Ever which replaced human being as well as the historical significance of the title:the world's first. To be more specific, there is a example research on two performances:a pansori play "EveR is simply stunning(2009)" and children's play "The Robot Princess and Seven Dwarfs(2009)." Through this example research, it is enabled to anticipate the influence of robot actors on performing arts and to search for the better way of them to evolve. Furthermore, it aims at finding ways to create high value through promoting robot actors to be familiar to the public as well as supporting them to become active cultural contents. The performance with robotic technology is one of the artistic experiment that may cause the change of the future of performing art by actualizing technological imagination together with human body and machinery. As a consequence, it is expected that the meeting of performing art and robotic technology gives positive influence on activating performing art as one of the integrated cultural phenomenon which satisfies the taste of modern era. Moreover, this study may also be the beginning of the expansion of performing art to stretch to diverse field.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.41 no.3
• /
• pp.13-26
• /
• 2023

Landscapes and gardens have emerged as an important medium of practice in contemporary cities. Among them, this paper examines the city through the frame of gardens. This is because gardens are being reconceptualized as a medium of activity for urban residents and have become an important subject of action in urban regeneration and the creation of urban villages. From this perspective, this paper examines and proposes an "integrated garden city theory" as a landscape theory suitable for the contemporary era by focusing on the urban structure and the behavior of urban residents through the medium of gardens, as well as the process and results. This is both a process and a result of looking back at the evolution of landscape for over a century and rethinking the identity of landscape. We first examined garden city theory, noting that Ebenezer Howard and Frederick Law Olmsted's positions on the relationship between gardens and cities were not so different, and that "working and responsive landscapes" were fundamental to cities and the beginning of landscape theory. We also examine how their ideals have not been fully realized in cities over the past century, but the prototype of gardens based on traditional garden culture is now being formed in East Asian cities, and the evolution of landscape theory in response. The conclusion is that a new version of the garden concept should be reestablished as a living infrastructure in our cities, and a new garden city theory is needed to make it work. To this end, each chapter examines three arguments, as follows First, the values of gardens and East Asian garden cultures in contemporary cities are shaped by the themes of community and integrity. Second, Korean communality, represented by apartments, is expressed through gardening and requires the reconciliation of city and life and the role of landscape architecture as a specialized field to support it. Third, we examine and consider an integrated garden city theory as a theory of practice in which city-based, everyday life, and garden mediums, i.e., city, life, and garden, are organic, based on an oriental view of nature. As a result, it is confirmed that contemporary gardens and cities are looking for important elements and values that still need to be rediscovered in East Asian landscape and garden cultures. Although the proposal of an integrated garden city theory cannot guarantee the continuation of landscaping, it can be an opportunity for all fields related to cities, not just landscaping, to collaborate and consider garden cities. Through this, it is hoped that "the concept of garden and city suitable for metropolitan or dense cities, ways to spread and support garden culture based on community, evolution of landscape theory/design theory suitable for lifestyle and terrain conditions, search for sustainable/resilient garden city theory that can respond to climate change, and establishing a new role for landscape in the 21st century" will be seriously considered.

• KDI Journal of Economic Policy
• /
• v.14 no.2
• /
• pp.109-153
• /
• 1992

This paper estimates a translog cost function for the Korea's banking industry and derives various implications on the prospect for the Korean banking structure in the future based on the estimated efficiency indicators for the banking sector. The Korean banking industry is permitted to operate trust business to the full extent and the security business to a limited extent, while it is formally subjected to the strict, specialized banking system. Security underwriting and investment businesses are allowed in a very limited extent only for stocks and bonds of maturity longer than three year and only up to 100 percent of the bank paid-in capital. Until the end of 1991, the ceiling was only up to 25 percent of the total balance of the demand deposits. However, they are prohibited from the security brokerage business. While the in-house integration of security businesses with the traditional business of deposit and commercial lending is restrictively regulated as such, Korean banks can enter the security business by establishing subsidiaries in the industry. This paper, therefore, estimates the efficiency indicators as well as the cost functions, identifying the in-house integrated trust business and security investment business as important banking activities, for various cases where both the production and the intermediation function approaches in modelling the financial intermediaries are separately applied, and the banking businesses of deposit, lending and security investment as one group and the trust businesses as another group are separately and integrally analyzed. The estimation results of the efficiency indicators for various cases are summarized in Table 1 and Table 2. First, security businesses exhibit economies of scale but also economies of scope with traditional banking activities, which implies that in-house integration of the banking and security businesses may not be a nonoptimal banking structure. Therefore, this result further implies that the transformation of Korea's banking system from the current, specialized system to the universal banking system will not impede the improvement of the banking industry's efficiency. Second, the lending businesses turn out to be subjected to diseconomies of scale, while exhibiting unclear evidence for economies of scope. In sum, it implies potential efficiency gain of the continued in-house integration of the lending activity. Third, the continued integration of the trust businesses seems to contribute to improving the efficiency of the banking businesses, since the trust businesses exhibit economies of scope. Fourth, deposit services and fee-based activities, such as foreign exchange and credit card businesses, exhibit economies of scale but constant returns to scope, which implies, the possibility of separating those businesses from other banking and trust activities. The recent trend of the credit card business being operated separately from other banking activities by an independent identity in Korea as well as in the global banking market seems to be consistent with this finding. Then, how can the possibility of separating deposit services from the remaining activities be interpreted? If one insists a strict definition of commercial banking that is confined to deposit and commercial lending activities, separating the deposit service will suggest a resolution or a disappearance of banking, itself. Recently, however, there has been a suggestion that separating banks' deposit and lending activities by allowing a depository institution which specialize in deposit taking and investing deposit fund only in the safest securities such as government securities to administer the deposit activity will alleviate the risk of a bank run. This method, in turn, will help improve the safety of the payment system (Robert E. Litan, What should Banks Do? Washington, D.C., The Brookings Institution, 1987). In this context, the possibility of separating the deposit activity will imply that a new type of depository institution will arise naturally without contradicting the efficiency of the banking businesses, as the size of the banking market grows in the future. Moreover, it is also interesting to see additional evidences confirming this statement that deposit taking and security business are cost complementarity but deposit taking and lending businesses are cost substitute (see Table 2 for cost complementarity relationship in Korea's banking industry). Finally, it has been observed that the Korea's banking industry is lacking in the characteristics of natural monopoly. Therefore, it may not be optimal to encourage the merger and acquisition in the banking industry only for the purpose of improving the efficiency.

• (The) Research of the performance art and culture
• /
• no.19
• /
• pp.347-378
• /
• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.