• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.51-64
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• 2021

Among global K-pop fandoms Chinese fandom is a longtime and very strong consumer power in the K-pop industry due to its adjacent geographical location and low cultural barriers. Yet, there is a significant lack of research on Chinese K-pop fandom; most of what is available is from the producers' points of view. Research that explores the position and experience of Chinese fans, who are both mass audience and consumers, is slow to emerge. Thus, there is a need for systematic and careful study of Chinese K-pop fandom. In this research, we conducted a phenomenological study of the experience of Chinese fans of K-pop culture. We conducted participatory observation and in-depth interviews (including a FGI) with Chinese superintendents and active participants in Chinese K-pop fan clubs and fan pages. We then coded the data, following the theory of fandom developed by scholars such as Fiske (1992), and analyzed the phenomenon of Chinese K-pop fandom from the frame of the overall societal environment. We considered the psychological and behavioral characteristics of Chinese fans and the influences they receive from their turbulent social environments. We also considered the expectations of and opinions on the development of K-pop culture from their perspective. Based on our findings, the significant role and influence of independent fans and interdependent fandom in the development of K-pop culture and industry are identified. Finally, we emphasize that the role as facilitators of K-pop agencies is critical in the establishment of communication and trust between fans, K-pop artists, and the agencies.

• KIPS Transactions on Software and Data Engineering
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• v.5 no.9
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• pp.441-450
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• 2016

In this study, we investigate the effect of the level of cognitive affordance which explains an explicit interaction method on the interest of viewers. Viewer's recognition of the interaction method is associated with cognitive affordance as a matter of visual-perceptual exposure of the input device and viewer's cognition of it. The final goal of the research on affordance is to enhance the audience participation rather than the smooth interation. Many interactive media artworks have been designed with hiding the explicit explanation to the artwork due to worry that the explicit explanation may also hinder the induction of impressions leading the viewer to an aesthetic experience and the retainment of interest. In this context, we set up two hypotheses for study on cognitive affordance. First, the more explicit the explanation of interaction method is, the higher the viewer' understanding of interaction method is. Second, the more explicit the explanation of interaction method is, the lower the interest of the viewer is. An interactive media art work was manufactured with three versions which vary in the degree of visual-perceptual information suggestion and we analyzed the participation and interest level of audience in each version. As a result of the experiments, the version with high explicitness of interaction was found to have long time spent on watching and high participation and interest of viewers. On the contrary, the version with an unexplicit interaction method was found to have low interest and satisfaction of viewers. Therefore, regarding usability, the hypothesis that a more explicit explanation of interaction would lower the curiosity and interest in exploration of the viewer was dismissed. It was confirmed that improvement of cognitive affordance raised the interaction of the work of art and interest of the viewer in the proposed interactive content. This study implies that interactive media art work should be designed in view of that the interaction and interest of audience can be lowered when cognitive affordance is low.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.485-498
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• 2021

This study confirmed the perceptions of performing arts field workers and related experts under the theme of non-face-to-face performing arts. As a result of the analysis, first, respondents agreed with the practical need for non-face-to-face performing arts, but respondents in the field viewed the lack of "fieldability" and "communication with the audience" of non-face-to-face performances as a problem. Second, respondents who participated in non-face-to-face performance production had negative perceptions of realism, immersion, interaction with the audience, lack of enjoyment outside the performance, and difficulties in securing budgets, filming and editing, and actors' acting commitment. Third, regarding the government's non-face-to-face performing arts-related support policy, they complained that support was only given to specific organizations and a small number of people, and administrative difficulties in support. Through this study, it can be suggested that face-to-face and non-face-to-face performance arts should be treated in a complementary and balanced relationship in terms of government policy.

• Journal of the Economic Geographical Society of Korea
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• v.16 no.1
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• pp.118-134
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• 2013

This paper analyzes the pubic nature of New Genre Public Arts. It is very sensitive to the social issues and supports democracy and communities with the diverse civic participation. Therefore, it is be widely known without doubt that new genre public arts is more public in nature compared to the previous public arts. This research observes the practices of new genre public art and focuses on the problems of the revealing nature of new genre public art through the analysis of the interrelations among government, artists, and the residents by through observation on the , Seoul City Gallery project from October 2008 to January 2009. The implementation of the project is divided into three constituent parts: local government for funding, artists for planning and implementing, and residents. Local government supports and commands the public art works to create more competitive and harmonious city. Artists emphasize the revitalization of community and take the residents as the passive objects of enlightenment. Whereas, the residents hope to use the funds to improve economic conditions. Artists accept the top-down commands of government, whereas residents tend to passively participate and become objects for enlightenment by artists, after all, might be alienated by the project. These kinds of communications and relationships raise the issue of the possibility of failure of public arts projects.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.91-100
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• 2019

It is an undeniable that cultural landscape of Korea is centered in Seoul, where all the cultural powers are oriented. From this aspect, a municipal theatre of Daegu (Daegu Municipal Theatre), where is considered an area somewhat isolated from the perspective of culture, has managed to develop theoretical programs serving public purposes through efforts on the diversification of performance programs, development of creative plays, acceptance of open direction, classic, modern and experimental plays, foreign exchange, musicals and non-verbal, development of modern and post-modern history of the region, aggressive exploration of subjects, and characterization of the theater through citizen-participated programs and communication with citizens. With such efforts on diversification of public benefits and communality conforming to its purpose, it has been recognized for its contribution to the recovery of popularity of performance art and plays in Daegu. The Daegu Municipal Theatre, celebrating the 20th anniversary of establishment this year and having Choi Ju-Hwan as its fifth art director, has managed to conduct various experimental attempts to gain popularity and these include the exploration of the region and its historical figures, development and promotion of creative musicals, and promotion of communication between citizens and performance culture and of participation of audiences, in turn having a stabilized operation system. Such changes are seemed to be attributable to the maturity of performance production and roles of senior members. From this aspect, this study aims at investigating the changes in the Daegu Municipal Theatre and 'roles and popularity of national/public theatre companies.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.2
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• pp.328-334
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• 2020

In this paper I proved that the intention of the movie is to put the reader at the crossroads of choice, which is still in progress, in this context confirmed that the storytelling is very enlightening and popular. This was demonstrated by the thing of making a story the charactor's Affects process itself in the story and a change in the point of view from witness to participant in the discourse. Jang Hoon seeks to reconstruct the Gwangju Democratic Movement through Kim Man-seop, a character who now lives here with trauma. Faced with a sympathetic message from a common and familiar figure around us, such as a taxi driver, it should be said that the goal was to get the audience to accept past gruesome incidents as part of us. The film uses Affects as a way to make the 1980s "Them" become "we" and replace the 37-year-old incident with our modern story. Soon, the film's intention is to turn Gwangju's Democratic movement from "There, Their Story" to "Here, Our Story." That's why popular storytelling was needed and concluded that it was the popularity the film acquired.

• 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.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.405-414
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• 2022

The purpose of this study is to discover the possibility to expand the aesthetic interpretation of dance works. For this purpose, this study analyzes Maguy Marin's (1981) because it shows Sigmund Freud's concept of uncanny and grotesque images well. The theoretical framework of this study was centered on previous academic studies, and Hoffman's Der Sandmann(1816) was presented as an example to help the conceptual understanding of uncanny and grotesque. The analysis of of Magi Marin was divided into stage space, dancer's movements, costumes, and voice. As a result of this study, it was discovered that is a work with an experimental spirit that deviated from the stereotypes of traditional stage aesthetics. And it was implemented as uncanny and grotesque images in the choreography structure. In addition, as the changes of the times have a great influence on the creation of dance works, it is thought that the discourse of various aesthetic interpretation methods in dance works can provide various directions for dance creation in the future. Therefore, this study will be helpful in raising the aesthetic value and status of dance art.