• Journal of the Korea Convergence Society
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• v.9 no.10
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• pp.209-215
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• 2018

The level of cultural enjoyment in Korea has improved every year, but the culture that the general public possesses artworks has not developed so much. Most artwork trading systems, from traditional ones to the latest blockchain-based ones, are designed for expensive artwork trading and are hardly accessible to the general public. In this paper, we propose a blockchain-based artwork trading system that can improve the culture of the general public's art collection and contribute to the popularization of fine art. The proposed system consists of three interacted blockchains for identification, artwork registration and smart contract. The proposed system utilizes the advantages of the blockchain system for users to provide trust to each other, and introduces the concept of art notebook for artists to build trust in their own artwork. Since the proposed system builds a trust system through participants rather than experts or external organizations, it can reduce the cost of trading and deal with artworks that can be owned by the general public.

• Korean Association of Arts Management
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• no.51
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• pp.191-219
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• 2019

Adoption of applicable law for the international trade of artworks is closely related to the results of lawsuits. Recently, starting with New York, the hub of the international artworks market, a modern, mixed-law is gradually being adopted more. It is difficult to designate an applicable law of an international trade of artworks through private laws regulations of relevant countries, and the public laws regulations must also be considered in relation to individual benefits and the public benefits to the relevant countries. With regards to the foreign relations issues, Korea's private international law embraces a so-called public order theory, and according to the Section 7 of the Act on the Private International Law and its enactment history, the compulsory provision, which seems appropriate for application to the corresponding matter, applies without regards to the selection of the applicable law. The Civil Act of Korea acknowledges bona fide acquisition of a cultural asset, in principle, if the Cultural Heritage Protection Act is not applicable. Moreover, a lost artwork is also a subject of bona fide acquisition; however, if the relevant artwork is either stolen or lost, the original owner has the right to demand the return of that artwork within 2 years of being stolen or lost according to the Section 250 of the Civil Act. Also, if the buyer purchased from a distributor specializing in the artworks, such as auction, open market or gallery, the buyer could request a compensation of the purchase price from the original owner, and if the buyer purchased through a private transaction, the buyer cannot demand a compensation of the purchase price and must return the artwork.

• Journal of the Korea Convergence Society
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• v.11 no.2
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• pp.109-116
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• 2020

Social media is growing rapidly as a means of promoting artists' artworks and a channel for sales. However, since social media is not fundamentally a platform designed for trading, it has various limitations that make it difficult to ensure trust and security in carrying out transactions. In this paper, it is proposed interoperability between social media and blockchain-based smart contract system that can record and preserve the artist's profile, information related to artworks and details of the contract on the blockchain. The proposed interoperability allows artwork trading participants on social media to maintain mutual trust and to conduct the contract transparently. Also, the proposed interoperability consists of an API provided by the social media developer or an open source API without having to modify existing social media. This study is expected to contribute to the growth of the art trading market on social media by complementing the art trading practices on social media.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.219-224
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• 2020

One of the main reasons for the commercial failure of various early blockchain-based art trade platforms, including Maecenas, is the lack of clear ways for owners to fully restore ownership of artworks. In this paper, we proposed a procedure for the owner of the artwork to rebuy shares and restore his or her entire ownership in the blockchain system. Using the proposed procedure, we can find a balanced price between the owner and investors, and then restore ownership through a public purchase of the stake. The balanced price can be induced by penalizing the owner for proposing unreasonably low price, and by rewarding investors for deciding reasonable prices. The proposed procedure of restoring ownership is expected to be utilized not only on the block chain-based art trading platform but also on the block chain-based trade platform in other applications.

• Journal of the Korea Convergence Society
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• v.10 no.12
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• pp.215-221
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• 2019

The development of blockchain-based art trading platforms has not been revitalized despite the recent recovery of the cryptocurrency market. In this paper, we found that blockchain-based art trading platform is not revitalized due to the large volatility of cryptocurrency price. As a solution, we propose a trading system using dual types of cryptocurrency that one is Stablecoin and the other is legacy cryptocurrency. Through cryptocurrency dualization, the proposed system can satisfy both user's requirements of stability of art price and value growth of the blockchain system. In addition, the proposed system is expected to be able to balance the use of dual cryptocurrencies and market capitalization ratios according to market principles. Finally, the proposed cryptocurrency dualization is expected to be used in other applications that require both the stability of the value of transactions and the growth of the value of the blockchain system.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.105-110
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• 2021

In this work, we design and implement a prototype of the mobile UX that works with blockchain-based smart contract systems so that artists and buyers who trade artworks through social media can find reliable trading partners and make secure transactions with each other. The developed prototype has the following characteristics. Utilizing prototypes, we cost-effectively validate the design of mobile UX(User Experience). First, we implement familiar UXs that social media users can use without additional explanation. Second, it is possible to check the reputation of the counterpart and encourage users to make fair deals that can increase their own reputation. Third, it implement the UX for common use by users around the world. Fourth, we design and implement to operate independently of the social media system.

• TTA Journal
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• s.139
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• pp.130-131
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• 2012

연구원 초년 시절에 ISDN, 전화선 모뎀 규격 등을 담은 ITU-T 권고안을 (당시는 CCITT 권고안) 보면서 바이블처럼, 금과옥조처럼 신성시 할 때가 있었다. 그러나 천하의 ITU-T 권고안도 실수가 더러 섞여 있고 규격에 반영된 기술도 세계 최고가 아닌 적당한 타협에 의한 결과물이 더러 있다는 걸 알게 되기까지는 그리 오랜 시간이 필요하지 않았다. 그래서 국제 표준이라는게 꼭 당대 최고의 기술의 결정체라기 보다는 토론과 협상, 절충과 거래에 의한 종합적인 고뇌의 산물이자 예술품이라는 결론을 내리게 되었다. 이번 글에서는 필자가 알고 있거나 경험했던 표준에서 절충의 사례를 몇 가지 알아보고 향후 표준을 만들어 갈때 길잡이가 되기를 기대한다.

• Korea Trade Review
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• v.41 no.4
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• pp.111-129
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• 2016

In this paper, I reviewed the analysis of possible ICC model of international sale contract terms used in the international artwork trade. Based on this, the provisions proposed considering the specialties of the international artworks trade. The purpose of this research study is to help practitioners draw up a contract of international artworks trade. In Chapter II, I reviewed the highlights of the international sale of goods contract. In Chapter III, I discussed the issues that arise in creating specific provisions on the international artworks trade agreements. In Chapter IV, I discussed the issues in creating the general provisions on the international artworks trade agreements. Quantity provisions of the international artworks sales contract should include the "more or less" clause. And it should also clearly define the scope of the author's property rights transfer in the copyright provisions. Even if a buyer has been assigned the copyright of artworks from the artist, if the buyer modifies the artworks without permission, moral rights can be violated. In addition, even if a buyer has been assigned all of the intellectual property rights of the artists, if the buyer does not have the specific provisions, the buyer must keep in mind that the unauthorized publication of artworks, film production, merchandising, etc, may infringe the right to create derivative works.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.371-405
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• 2004

International circulation of cultural assets involves numerous countries thereby making an approach based on international law essential to resolving this problem. Since the end of the $2^{nd}$ World War, as the value of cultural assets evolved from material value to moral and ethical values, with emphasis on establishing national identities, newly independent nations and former colonial states took issue with ownership of cultural assets which led to the need for international cooperation and statutory provisions for the return of cultural assets. UNESCO's 1954 "Convention for the Protection of Cultural Property in the Event of Armed Conflict" as preparatory measures for the protection of cultural assets, the 1970 "Convention on the Means of Prohibiting and Preventing the Illicit Import and Transfer of Ownership of Cultural Property" to regulate transfer of cultural assets, and the 1995 "Unidroit Convention on Stolen or Illegally Exported Cultural Objects" which required the return of illegally acquired cultural property are examples of international agreements established on illegal transfers of cultural assets. In addition, the UN agency UNESCO established the Division of Cultural Heritage to oversee cultural assets related matters, and the UN since its 1973 resolution 3187, has continued to demonstrate interest in protection of cultural assets. The resolution 3187 affirms the return of cultural assets to the country of origin, advises on preventing illegal transfers of works of art and cultural assets, advises cataloguing cultural assets within the respective countries and, conclusively, recommends becoming a member of UNESCO, composing a forum for international cooperation. Differences in defining cultural assets pose a limitation on international agreements. While the 1954 Convention states that cultural assets are not limited to movable property and includes immovable property, the 1970 Convention's objective of 'Prohibiting and preventing the illicit import, export and transfer of ownership of cultural property' effectively limits the subject to tangible movable cultural property. The 1995 Convention also has tangible movable cultural property as its subject. On this point, the two conventions demonstrate distinction from the 1954 Convention and the 1972 Convention that focuses on immovable cultural property and natural property. The disparity in defining cultural property is due to the object and purpose of the convention and does not reflect an inherent divergence. In the case of Korea, beginning with the 1866 French invasion, 36 years of Japanese colonial rule, military rule and period of economic development caused outflow of numerous cultural assets to foreign countries. Of course, it is neither possible nor necessary to have all of these cultural properties returned, but among those that have significant value in establishing cultural and historical identity or those that have been taken symbolically as a demonstration of occupational rule can cause issues in their return. In these cases, the 1954 Convention and the ratification of the first legislation must be actively considered. In the return of cultural property, if the illicit acquisition is the core issue, it is a simple matter of following the international accords, while if it rises to the level of diplomatic discussions, it will become a political issue. In that case, the country requesting the return must convince the counterpart country. Realizing a response to the earnest need for preventing illicit trading of cultural assets will require extensive national and civic societal efforts in the East Asian area to overcome its current deficiencies. The most effective way to prevent illicit trading of cultural property is rapid circulation of information between Interpol member countries, which will require development of an internet based communication system as well as more effective deployment of legislation to prevent trading of illicitly acquired cultural property, subscription to international conventions and cataloguing collections.