• (The) Research of the performance art and culture
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• no.39
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• pp.701-748
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• 2019

Gwanak-yeongsanhoesang, called as Samhyeon-yeongsanhoesang or Pyojeongmanbangjigok, is played by the musical instrumental organization, Samhyeonyukgak or by a large scale wind ensemble added Sogeum and Ajaeng. This study aims to analyze the structure and form of Piri melody which plays major melody of Sangnyeongsan in Gwanak-yeongsanhoesang, and to examine the relationship between Piri melody and Daegeum yeoneum grasping the structure and function of yeoneum. In Sangnyeongsan of Gwanak-yeongsanhoesang, the criterion for grouping the phrases of Piri melody is yeoneum. Especially, Daegeum yeoneum carries out the function of finishing the phrase of Piri playing the major melody by ornamenting or extending it, and presenting the motives or motive elements of the next phrase while Piri rests. The types of a, b, g, and i in the various shapes of the minimum melodic fragment of Piri are important motive elements that constitute a phrase of Piri melody. Especially, main motive a-type (仲→無) contrasts with b type (林→潢) which forms a strong tension by transposing 2 degrees upward. In addition, a-type gradually descends towards the end of music by changing to g-type (仲→林) or to i-type (太→林) which is 3 degrees below, which is related to the gradual descent cadence of Korean traditional music. A phrase of Piri melody of Sangnyeongsan in Gwanak-yeongsanhoesang consists of a combination of the types a, b, g, i, and cadence (x-type), and each phrase is structured in the repeating tension-relaxation. Looking at the structure of Piri phrases by similar types, each phrase has a logical variation structure through the methods such as omission and addition of notes, and crossing of melodies. The shape of the minimum melodic fragment of Daegeum yeoneum can be divided into a back-yeoneum of a~b types and a front-yeoneum of x1~x3. The x-types ornament Jungnyeo (仲), the cadence tone of Piri melody or are simply used as the extending back-yeoneum, and types a and b have the function of a front-yeoneum that prepares the beginning of the next phrase of Piri melody. The combination types of the minimum melodic fragment of Daegeum yeoneum appear mostly as the shape of back-yeoneum + front-yeoneum. In addition, the front-yeoneum of the type a and b appears independently without back-yeoneum, and the x3 type has a shape of the back-yeoneum without the front-yeoneum. Looking at the structure of Daegeum yeoneum by similar types, it can be seen that Daegeum yeoneum is also composed of a variation structure of omission and addition of notes like Piri melody.

• Journal of the Korean Society for information Management
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• v.26 no.2
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• pp.149-172
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• 2009

The purpose of this study was to examine the demand of parents and teachers for a children's library and analyze the need in consideration of their age and children's library-using frequency. The subjects in this study were 1,500 parents and teachers in the region of Gwangju, on whom a survey was implemented to find out the necessity of a children's library, what should be considered in terms of design and program development and what forms of materials should be provided. As a result of checking their needs for the functions of a library, the parents and teachers investigated attached importance to culture, welfare and hands-on culture/art programs as what a library should focus on. Second, as for design, they gave top priority to comfortableness(sanitary facilities, ventilation, humidity and temperature) and safety(sofas, cushions and carpets for children). Third, as to program preference, both of the parents and teachers considered activity, performance and educational programs necessary among multiple kinds of ongoing programs. Specifically, performance programs ranked first among the parents and third among the teachers. Activity programs ranked first among the teachers and third among the parents. Fourth, concerning the importance of materials possessed by a library, they placed the most emphasis on the kind of materials that could foster creativity and instill the right personality.

• (The) Research of the performance art and culture
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• no.18
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• pp.137-169
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• 2009

This paper pay attention to silent puppets which appear in the traditional puppet performance. Not only movement of silent puppets which are involved with expression of body of the mime, but also various methods overcome limits of the silent are studied in this paper. Through the study of performance method and historic unfolding aspects, I confirm two main points. First point is that overcome limits of the silent, through the diversity of performance aspects. Second point is that silent puppets have been existed since the early stage of history, and show typical unfolding aspects on their way. Combining two main points, We can say that silent puppets go through continuous unfolding aspects on their way and have meaning of existence. The meaning of existence are that silent puppets seek deviant desire which deviate from everyday life and transcendental desire which seek a freedom through an imagination or an idea. It is interesting that the reasons of existence are associated with the emphasis of necessity which is encouragement of audience's desire and imagination that are necessary of accomplish of mime. After all, silent puppets say that diverse attempts which overcome limits of the silent are accomplished with the performance aspects and historic unfolding aspects, and through that sought unusual communication. Through the performance methods and signification aspects, silent puppets say that diverse groping for which maximize of audience's imagination, stimulation of imagination for audience's spontaneousness, and diverse groping for audience mind performance have been performanced as well. I think that those are the voice of silent puppets for activity of mime in the korea.

• (The) Research of the performance art and culture
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• no.36
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• pp.365-414
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• 2018

This paper studied the type and character of the Divinity in Korean shamanism. The study of the Divinity means the hierarchy of shamanism, the relationship between shamanism and divinity, and the comparison between shamanism and divinity. The study of the shamanistic divinity based on Kim Tae - Gon's collection of anthology by Shaman(1971). The Jaesugut was composed of the contents of the gods blessing human beings. The JaesuGut of Seoul vary from 10 to 18 depending on the author. The JaesuGut of Goseong consists of 8 Gut. The essence of the ritual gut is to pray for the peace of the individual by using the world which is not explained by reason and science. It is a reincarnation that reflects the world of experience that is stored in the memory of human being that both reason and science can not explain. And the desire to escape from fear was reflected in Jaesu Gut. Every Jaesu Gut in Seoul and Goseong has a main divinity. This main divinity is attached to the divinity in another Gut and becomes a subordination divinity. It also becomes a subordinate-subordination divinity to the another Gut. The gods of reincarnation are basically taken in the order of national security ${\rightarrow}$ local security ${\rightarrow}$ home security.

• Korean Association of Arts Management
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• no.51
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• pp.75-102
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• 2019

This study aims to figure out the progression of Hyundai motor's corporate cultural marketing by conducting semantic network analysis. Although the previous research has focused on conception, categorization, impact, and performance of cultural marketing, they hardly pay attention to changes in cultural marketing over time. To explore the identified gap, we collected 2,315 articles concerning Hyundai motor's cultural marketing on daily newspapers printed from 2001 to 2018. The 18-year time period was classified into four periods, and lists of words were extracted and analyzed by Korean language analysis program, Textom and social network analysis program, called 'UCINET'. The outcome of our analysis indicates that Hyundai Motor's cultural marketing has been developed from the strategy of merely increasing sales to the means of distinguishing their corporate and brand identity. In the early 2000s, the words 'customer', 'The Age of Great Paintings: Rembrandt and the 17th century Dutch paintings', and 'performances' were extracted with high frequency. It shows Hyundai Motor held performance-oriented events and provided benefits to specific consumer groups under the type of 'Cultural Promotion'. In addition, as the exhibition sponsored by Hyundai motor was reported in the media with high publicity effect, the concept of 'Cultural Support' is also emerged. In the late 2000s, the top exposures were 'Seoul Arts Center' and 'Seoul Metropolitan Symphony Orchestra'. Under the concept of 'Cultural Support', both organizations and cultural events were sponsored by Hyundai motor. Hyundai Motor has the tendency to cooperate with high profile parties who have already accomplished high publicities to attract social interests and issues. In the early 2010s, Hyundai Motor created cultural marketing brand and space ('Brilliant' and 'Hyundai Art Hall') that broadened the potential target groups, which represented both 'Cultural Support' and 'Cultural Enterprise'. In the middle and late of the 2010s, as shown by the high frequency of 'brand' and 'global', Hyundai Motor has focused on the global market and viewpoint has expanded to brand building focusing on the type of 'Cultural Enterprise'.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.6
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• pp.111-123
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• 2014

The city square is an important public open space for people. Being used for various activities, such as community gatherings, open markets, concerts, political rallies, and other events, many types of city squares are represented in a city. Nevertheless, most city squares are planned uniformly, lacking consideration for visitor behavior and use satisfaction. The study investigated the design factors and subcomponents influencing user satisfaction with different types of city squares. This study focused on the general city square in Seoul, including the grand public place (i.e. Gwanghwamun Square) and the neighborhood park (i.e. Geumbit Square). The data were analyzed using factor analysis, linear regression and fuzzy theory. The results of the study are as follows: first, five design factors of satisfaction with city squares are identified (Amenity, Usability, Spatial components, Culture, and Comfortableness). Second, Amenity, Comfortableness, and spatial components significantly affect user satisfaction with Gwanghwamun in that order. On the other hand, in Geumbit Square, Comfortableness, Amenity, Usability and Spatial components affect user satisfaction in a significant way, in that order. Third, cleanliness, a subcomponent of amenity, was ranked highest using the fuzzy theory function for satisfaction with Gwanghwamun Square. Otherwise, the prevalence of plants was ranked the highest on the Geumbit Square survey. The study compared design factors influencing satisfaction in the public grand place and the neighborhood park. The results have implications for designing and planning city squares to the satisfaction of their visitors.

• Journal of Digital Convergence
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• v.16 no.12
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• pp.283-292
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• 2018

UHD (Ultra High Definition) broadcasting technology, and UWV (Ultra Wide Vision) which is the high quality panoramic video of wide view angle based on UHD, were commercialized in Korea for the first time in the world, and those are representative realistic video technologies that maximize the user's sense of presence. By comparing the user's subjective reaction of UHD and UWV, the purpose of this study is to systematically establish the user's subjective video quality evaluation. For this purpose, a large screen projection experiment is designed by setting the screen size (4k x 2k, 8k x 2k) and content types (sports, landscape, concert) as variables to measure the user's subjective video quality evaluation and satisfaction. As a result of the study, the users' evaluation of UWV was higher than UHD in all items of subjective video quality, and satisfaction. Moreover, the results showed the significant differences depending on the video contents. Based on the results of the research, the study proposed the points necessary for the development and commercialization of UWV panoramic technology, and suggestions for the future research.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.1-12
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• 2014

The projection mapping technique is used in various ways in almost every genre of performance arts at the moment. Thus, artist from various areas are participated in contents productions using it. The diversification of projection mapping contents gave producers a clue to try fresher visual effects and it was connected to the change of point of time using the camera working which was never used in old projection mapping contents productions. It is analyzed that the use of camera workings in the projection mapping image maximizes the visual Tactility and helps audiences concentrate on the contents. This study performed the theoretical research on the 'camera working' which is a new visual expression of the projection mapping and analyzed cases of projection mapping works applying them. It is to reconstruct the camera working which has been applied only by images of movies and suggest a guideline to create the optimized visual effect.