• Archives of design research
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• v.16 no.2
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• pp.179-188
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• 2003

We can discover some facts that vernacular design products with a property of volunteer culture coexist with ready-made products as an useful objects in the post-industrial society. Currently, few attempts had been made at studies of the vernacular design objects with understanding cultural context in post-industrial society, it is necessary to illuminate the relationships between the user with a role of design producer and the product viewed in culturally. In chapter 2, by examining documentary, t have been understood the definition, apprehensions, attributes linking creative use's culture with vernacular design culture, and distinctions between vernacular design and main stream design system. In chapter 3, by verifying products of everyday street and construction site, have been investigated the public characters and the differences compared with the past. In chapter 4, as a subtle example, have been analyzed design feathers and cultural characters of the products which children and infants culture generates by reflecting the socio-economic backgrounds and the culture from 60c and 70c to now according to the phases of the times. In conclusion, first, it seems quite probably that all of artificial objects exist a state of ready-made but that is not appropriate to correspond with user's whole behaviors. supplementally, it causes the phenomenon of vernacular design products. Secondly, it is reasonable to suppose that such main-stream design system and vernacular design go forward continually and crossly with coexistent relationships as high culture and sub culture. Third, three concepts: long-life design, ecology design and recycling revealed in vernacular design are useful distinguishing marks for the future design directions, moreover instant-response, fast and flexible process, three distinctions have a possibility of alternative process which can overcome the control-based process such as the systematic approach and the planning MTG in present. Finally, in children and infants culture, vernacular design products have changed the pure style products in the past into the modified techno playing products in the present. These should De a substitute product that supplyes variousness to ready-made design system and a design culture that maintains continually as a independent culture.

• Journal of Digital Convergence
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• v.18 no.5
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• pp.257-267
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• 2020

The objective of this study is to plan a space for senior citizens using digital contents as the measures for securing the cultural diversity by paying attention to culture of senior citizens. For this, this study theoretically examined digital contents as physical/social/psychological aging of senior citizens, space only for senior citizens, and culture of senior citizens. The research method used an in-depth interview. The results of this study are as follows. The senior citizens wanted the new play culture besides cultural programs operated by the existing spaces for senior citizens, and they also showed high preference of digital contents such as personal media and game. Especially, the senior citizens had an expectation that such digital contents would be helpful to smooth communication between family members. Based on such results, this study suggested a digital based culture spaces for senior citizens.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.6
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• pp.869-879
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• 2009

The purpose of this study is to understand the Tecktonik culture and fashion, and to compare its features in Korea and France. Unlike prior studies which mainly dealt with subcultures in the U. S. and the U. K., this study paid attention to the condition of Korea. Tecktonik is a dance and music craze that originated in France in 2000, and spread worldwide via the Internet. The main features of Tecktonik fashion are slim fit, vivid colors, and high-top sneakers, which represent current fashion and culture trends, and express the feeling of Tecktonik music and dance. Compared to France, Korean Tecktonik fashion emphasizes sexual attraction of women with short skirt, while men are conservative about mohican hairstyle and dark make-up. In France, Tecktonik has become a sound social amusement, while in Korea it has been used for advertisements or entertainer's fashion style. The subcultural characteristics of Tecktonik were identified as playfulness, the active use of digital media, and high commercial value. In France where Tecktonik is for participating in a joyful dance, playfulness is prominent, and in Korea where Tecktonik acts as a visual entertainment, commercial value is outstanding. It has made differences in Tecktonik fashion of the two countries.

• (The) Research of the performance art and culture
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• no.41
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• pp.353-380
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• 2020

Samul nori/Pungmul-gut is the symbol of ethnic identity for the Koreans abroad. It is the representative diaspora musical genre which is performed many cultural events held by Koreans. It is, at the same time, a global music which is appreciated by not only the Koreans but also the foreigners. Many musical communities in various countries exhibit the cultural migration through the discourse of 'tradition/variation' and 'authenticity/hybridity' in the course of the acculturation and enculturation of samul nori/pungmul-gut. The pungmul-pae 'Bichoe June' active in Toronto, Canada was organized by a foreign performer. For the foreigners pungmul-gut is easy to access as a genre of world music. As a percussion ensemble, it is easy to learn for the foreigners. The pungmul-pae 'Bichoe June' is a 'music community' consist of the Koreans and foreigners. The band tries to preserve the traditionality and authenticity of the Korean music. There is no variation or hybridity in its music since the member still learns the authentic music through various available textbooks and internet sites. Through the participation of the Koreans and foreigners, the band stimulates the globalzation of the pungmul-gut. The enculturation of the pungmul-gut is exhibited in two performances held by the band. One was host by the Canadian progressive group and the other was by the Korean conservative community. The former understood the nature of pungmul-gut as the music of the common people. The latter, however, accepted the music as the representative traditional music but was not easy to enjoy the 'noisy' music. In other words, the positive/negative acceptance of the pungmul-gut depends of the ideological nature of the listeners rather than the ethnical nature.

• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• The Bulletin of The Korean Astronomical Society
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• v.42 no.2
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• pp.71.2-71.2
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• 2017

국립과천과학관은 상설전시관 외에 천체관측소, 천체투영관, 스페이스월드 등의 천문우주시설을 갖추고 있으며 이들 시설을 활용한 천문대중화 프로그램을 지속적으로 운영하고 있다. 그러나 학령인구 감소와 관람객의 요구수준 증대 및 계층의 다변화에 따라 더 이상 과학관 간의 경쟁이 아닌 문화센터, 놀이공원, 박물관 등 여러 유형의 놀이, 문화 시설과 경쟁해야 하는 현실에 직면하고 있다. 이로 인해 과학관을 방문하는 관람객수는 정체하거나 점차 줄어드는 추세를 보이고 있다. 따라서 일정한 수준의 관람객을 지속적으로 확보하기 위해서는 새로운 수요를 창출하는 것 못지않게 과학관 관람객층을 다변화하고 이들의 재방문율을 높이는 것이 중요하다. 2016년 1월부터 2017년 7월까지 국립과천과학관 천문우주시설의 비 상설 프로그램인 "공개관측회"와 "저자특강"에 참석한 관람객을 대상으로 재방문율 조사를 하였고 이를 이용해 관람객의 프로그램 참석 빈도, 특성, 고객충성도 등을 분석하였다. 충분한 표본 확보와 자료의 객관적인 분석을 위해 소수의 적극적인 관람객만 참여하는 설문조사 방식을 사용하지 않고 온라인에 등록된 모든 참석자의 목록을 추출하여 사용하였다. 조사기간 프로그램에 참여한 총 인원은 6,700명이었으며 2회 이상 방문을 한 관람객의 재방문율은 38.8%를 나타냈다. 총 4,755명이 참석했던 "공개관측회" 만을 대상으로 한 재방문율은 29.8%, 총 1,925명이 참석했던 "저자특강"만을 대상으로 한 재방문율 41.7%의 결과를 얻었다. 또한 두 프로그램을 모두 참석한 관람객은 전체 19.6%의 결과를 보였고 재방문자만을 대상으로 한 교차 프로그램 참석자의 비율은 50.4%를 나타냈다.

• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.297-303
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• 2019

This study aims to investigate the characteristics, concepts, types, and strategies of unplugged coding for young children based on computing thinking. The key to unplugged coding for young children is computing thinking. Unplugged coding based on computing thinking for young children can be used to solve problems that can be encountered in everyday life through playing games based on logical thinking by positively utilizing algorithm boards, s-blocks, coding robots, and smart devices without using programs And find new ways to play. Types of unplugged coding for young children include direct input to smart devices, using coding robots with dedicated apps, practicing coding procedures using algorithms, and using hybrid methods. Strategies include understanding algorithms, drawing flowcharts, dividing into smaller parts, finding patterns, inserting, and predicting outcomes.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.371-376
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• 2019

Creative thinking appears even before it is expressed in language, and its existence is revealed through emotion, intuition, image and body feeling before logic or linguistics rules work. In this study, Lego is intended to present experimental child interactive content that is applied with a computer vision based on image processing techniques. In the case of infants, the main purpose of this content is the development of hand muscles and the ability to implement imagination. The purpose of the analysis algorithm of the OpenCV library and the image processing using the 'VVVV' that is implemented as a 'Node' in the midst of perceptual changes in image processing technology that are representative of object recognition, and the objective is to use a webcam to film, recognize, derive results that match the analysis and produce interactive content that is completed by the user participating. Research shows what Lego children have made, and children can create things themselves and develop creativity. Furthermore, we expect to be able to infer a diverse and individualistic person's thinking based on more data.

• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.