• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.336-344
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• 2018

This research proposes a suitable classification and analysis standard for digital exhibition to analyze digital exhibition. Through the previous studies on digital exhibition classification, the necessity of the new standard is suggested and the analysis standard which can be easily applied to the change of concept and form of the newly emerging digital exhibition is established. Digital exhibition should take into account the elements of audience participation that naturally arise from exhibition planning and interactive storytelling format. Classification and analysis of existing digital exhibition spaces are conceptual classification based on keywords. This is because traditional exhibition methodology has been applied in the process of classifying exhibitions and works. However, in digital exhibitions, the interactive aspect between exhibition space, works, and visitors become so important that it is necessary to perform a performative classification between the works and the audience in the digital exhibition. Accordingly, the way of participating directly or indirectly in the exhibition classification should be considered based on what the audience feel. In this research, the interpretation of the classification and composition of the exhibition is based on Benjamin's argument which the classification of the sensory experience of the audience and 'Aktualisierung' closely related to the interaction with the audience. We also present analysis standard for digital exhibition according to the structure of the art exhibition narrative based on the narrative structure of Chatman. This classification methodology will provide the exhibition information in a way that can be easily understood by the visitors and it will be a precedent research that secures the expansion and accessibility of the digital exhibition.

• Journal of Distribution Science
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• v.12 no.6
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• pp.59-65
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• 2014

Purpose - The competitiveness of logistics in the 21st century rests on ensuring the efficiency and effectiveness of its local hub. While considering entry into a niche market in local logistics, it is pertinent to note that Budapest is emerging as a hub in EU enlargement in Eastern Europe. Big, small, and medium-sized businesses in Korea entered Hungary in the early 1990s since then, there has been a significant increase in Korean presence, of approximately 130 times. This study aimed to identify the key distribution issues that have emerged in relation to Eastern Europe. Research design, data, and methodology - This study indicates that 33 major Korean companies were located in Hungary, which serves as an out post to enter the European marketplace. However, Korea's exports to Hungary have declined (-32.0% in 2012) because of a loss of competitiveness against multinational corporations, due to factors such as the rise in current local distribution costs and wages. Hungary, on the other hand, through diversification and expansion of foreign trade with the non-EU markets, including Korea, is increasing its exports. Strategies of emerging countries are compared and reviewed in this study, by examining the vicissitudes of Hungary's distribution methods. Results - There are issues regarding Hungary's innovative ability. Hungary has a history of low wages and high skilled labor. However, the outflow of high-quality human resources for high-wages has become more extensive, and this underlines concerns that the CEE's trade hub is moving to neighboring countries. After the European financial crisis in 2010, the Hungarian economy is now developing, because of the IMF's measures, and it is being transformed into a trade surplus nation, while regaining distribution volumes rapidly. However, if there is continued lack of investment, the supply chain is weakened and exports decline amidst competition with TNCs or with China's distribution networks. Conclusions - It is necessary to create a new logistics approach for increasing trade between Korea and Hungary. First, Korean small and medium enterprises (SMEs) should build trust by working with advanced Hungarian talent, and they should expand into state-of-the-art fields instead of being confined to traditional sectors. Second, this study focuses on limiting and lowering their high expectations for success according to foreign direct investment (FDI) inflows and the role in the CEE distribution hub Korea should try to strengthen the distribution hub with its centralized population, using better, more highly educated human resources, thereby sustaining more innovative ability. Further, the positive effects of these measures are manifested in enhanced business on both sides of Hungary, namely, the EU and non-EU nations such as Turkey and emerging markets around Europe, and a better engagement in the core placement of culture and industry. For this, Korea can contribute to, and benefit from, a Hungarian logistics center, for adopting the high-tech cluster systems and commercializing distribution technology such as RFID·USN.

• Journal of Digital Convergence
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• v.10 no.7
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• pp.237-243
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• 2012

Human beings were constantly developing and using tools. This implies the history of humans have been creatively maintained and developed. Humans put its utmost efforts to the development of civilization to lead better life at the same time constantly pursuit to the cultural development such as formative characteristics for the satisfaction of aesthetic needs. Gyubang crafts are regarded as extremely feminine and contained emotions of Korea while being classified as a genre of Korean culture & art. Gyubang crafts were created independent & unique formative beauty on the basis of then social, cultural, religious background, in which those sewing kits being called friends of ladies express the emotion of arts contains cultural depth of its appearance of life as well as its spiritual world of happiness, anger, sorrow and pleasure of ladies. And it was aimed to sought the possibilities to start itself in various ways under the assumption capable to be expressed detail & contemporary taste of the sewing kits that lived together with the ladies in their historic life through linking with ornaments arts with convergence and harmony of formative image. As stated, it could be an opportunity to rediscover the formative characteristics, harmony of convergence, elegance, delicacy, aesthetic beauty focused on sewing kits among Gyubang crafts filled with ladies' scant and spiritual hope and to be re-understood the excellence and the aesthetic beauty of traditional culture & arts through personal ornaments.

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• The Journal of Korea Institute of Information, Electronics, and Communication Technology
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• v.9 no.1
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• pp.90-99
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• 2016

The present study investigates the realization of tourism culture welfare by using Confucian heritage. From June 13 to November 7, 2014, site surveys and interviews were conducted for hyanggo (hyanggo: Confucian temple and school to teach students in Joseon Dynasty period), seowon (seowon: a memorial hall for Confucianist services to honor distinguished scholars and statesmen) and nujung (nujung: outdoor pavilion or gazebo) located in Youngwol -gun. Questionnaire pertaining to site survey and in-depth interviews for the building owners and managers was used to collect necessary data and scientific investigation was performed for analysis. As a result, the historical background was found to be culturally valuable asset for both region's tourism and culture welfare. Secondly, hyanggyo and seowon were found to exhibit traditional Confucius cultural form, while nujung exhibited a rare architectural trait. Hence it seems necessary to develop a different social tourism resource specialized for nujung. Thirdly, the rendering of Confucius heritages to tourism culture welfare resources thus far seems to be insufficient; hence, development and operation of marketing programs will be necessary. The implications of the present study require succession and modern reinterpretation of Confucian heritages for further development into digital tourism that will encompass Confucian culture and today's culture. Furthermore, studies of the tourism culture welfare policies that will promote the co-existence with the region will be needed.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.18 no.6
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• pp.22-30
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• 2004

It is an attempt to suggest the standard valuation method of the environmental illumination for the bridges across the Han-river from an aesthetic point of view, deviating from the technical and traditional viewpoint. In Korea the current evaluation criterion to verify the value of bridge design has a partiality for the technical and structural safety rather than the sentient beauty on the whole. However, the recently cultural reform of Korean mass society with the elevation of the standard of living forces the engineering designers for bridges to focus not only on competing physical structures but also on enhancing the formative beauty including the illumination effects for night view. Additionally, the new policy, which transforms the environments around the Han-river into the major tourist attractions has been executing strongly by the city authorities to revitalize the symbolic, historic, and cultural identity of the capital city with the introduction of the high-quality environmental illumination for the bridges. As a result, It becomes necessary to establish the manual and standardization of the environmental illumination planning for the city in terms of the formative beauty, and this study is to suggest the valuation model method of the environmental illumination for the bridges as the initial step of the standardization. In the study, the valuation items of the standard questionnaire are selected by the documentary records and the consultation of various experts in architecture, design, fine art, urban planning and even administration to verify the essential elements of the aesthetic beauty with the local amenity and the environmental harmony for the chosen bridges across the Han-river.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.9 no.2
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• pp.469-480
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• 2019

The purpose of this study is to enhance the cultural heritage value of the Juk-Bang-Ryeum (Bamboo Weir) and prove the originality through the review of historical literature. The main industry of Korean was agriculture and fishery from ancient. In the ancient, fishery instruments are not enough due to the lack of fishing technology. The Juk-Bang-Ryeum was considered as important national resources and asset. It give us many implications about the wisdom of our ancestors because of it's scientific principle of the structure. It is surely a cultural heritage to preserve in the future because it is considered as important community asset as well as more natural and environment oriented fishing method. In the literature, the origin of 'Juk-Bang-Ryeum' can be found as 'Eo-Ryang' or 'Bang-Ryeum'. The records on this terminology go back to the Corea Dynasty, but their documentary records are rare, and most of them are records of the Chosun Dynasty. In this study, we surveyed mainly the literature records about the southern coast region in the period of Chosun Dynasty. This study contributes for preserving the cultural assets of our ancestors who pursued eco-friendly fishery method, and it is also of great significance to produce objective data based on records for the registration of the World Record Heritage.

• 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.

• Cross-Cultural Studies
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• v.49
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• pp.303-330
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• 2017

This paper examines the origin of the current Nigerian Yoruba artistic and cultural tradition through ancient artifacts and creation myths centered on $Il{\acute{e}}-If{\acute{e}}$ (or $If{\acute{e}}$) located in the southwestern part of Nigeria and recognition of cultural relativity. In the oral tradition, kingdoms of Ijebu, Oyo, and Benin all have their origins in the ancient city of $Il{\acute{e}}-If{\acute{e}}$, the cradle of Yoruba culture. Their founders were sons of Oduduwa, the god of Yoruba. In this way, kingdoms built around $Il{\acute{e}}-Ife$ were closely connected with culture, religion, and society. In order to understand the Yoruba culture, research on $Il{\acute{e}}-Ife$, the source of their artistic and cultural traditions, is very important. The Yoruba are deeply rooted in $Il{\acute{e}}-Ife$. They have been steadily preserving their artistry since the beginning. They have been using it in their lives to this day for centuries. Their evidences are mythology and Ifa divination system. They are cultural heritages that represent the art of Yoruba and the spiritual culture. Ifa devination system is one of Yoruba traditions associated with Yoruba gods 'Eshu' and 'Ifa'. It has been conducted among the Yoruba until now. If the culture and civilization of Africa, including these Yoruba traditional customs, are deemed illogical and superstitious, it would mislead their efforts to preserve the origin in its original form. If so, one should understand the relativity of other cultures and civilizations and the need for diversity and flexibility of value standards to judge their cultures and civilizations.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.46-65
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• 2014

This study, under the title of Daeungbojeon Hall of Bulyeongsa Temple, Uljin and the architectural technique of the architect, aimed to make a comprehensive speculation on Daeungbojeon Hall of Bulyeongsa Temple whose accurate construction year was confirmed in 1725. While existing studies dealt with it separately between construction and Buddhist art history this study attempted to sort out it in one perspective by means of comparison with compatible objects in the area. The results are as follows. 1st, by means of comparison of wall painting of Daeungbojeon Hall of Bulyeongsa Temple and other wall paintings of Gyeongsang-do Province, it was estimated to be created before and after 1725, the founding year of the building. 2nd, the stylobate of Daeungbojeon Hall is the only and unique case that Guibu was supported by the bottom. Such stylobate was estimated to be built in the early period of Goryeo stylobate of PostLintel Construction which was more simplified than that of the traditional unified Silla period considering specific techniques. Lastly, by means of comparison of the architectural technique of Daeungbojeon Hall of Bulyeongsa Temple with other temples in Gyeongsang-do Province, the characteristics of the building were found. In particular, the same architectural technique was confirmed by direct comparison of style with Yeongsanjeon Hall of Tongdosa Temple in 1714 which was constructed by the same architect.