• Journal of Korean Library and Information Science Society
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• v.41 no.3
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• pp.291-307
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• 2010

This study investigates the participants' perception and satisfaction score for culture and education programs operating in public libraries and culture & art centers in Daegu Metropolitan City. Attendees of the public libraries' programs have higher overall satisfaction, customer loyalty on the contents of the program and lecturers than those of the culture & art centers' programs. Attendees of the culture & art centers' programs rated staff supports and services, facilities and educational equipments higher than those in the public libraries' programs. This study calculates the LCSI score in public libraries(78.02) and culture & art centers(77.22).

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.10 no.5
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• pp.2346-2362
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• 2016

As one of the most important issues in computer vision and image processing, online object tracking plays a key role in numerous areas of research and in many real applications. In this study, we present a novel tracking method based on the proposed structured sparse representation model, in which the tracked object is assumed to be sparsely represented by a set of object and background templates. The contributions of this work are threefold. First, the structure information of all the candidate samples is utilized by a joint sparse representation model, where the representation coefficients of these candidates are promoted to share the same sparse patterns. This representation model can be effectively solved by the simultaneous orthogonal matching pursuit method. In addition, we develop a tracking algorithm based on the proposed representation model, a discriminative candidate selection scheme, and a simple model updating method. Finally, we conduct numerous experiments on several challenging video clips to evaluate the proposed tracker in comparison with various state-of-the-art tracking algorithms. Both qualitative and quantitative evaluations on a number of challenging video clips show that our tracker achieves better performance than the other state-of-the-art methods.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.19 no.10
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• pp.2028-2042
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• 1994

Properly defining signal and noise in a self-organizing system like ART(Adaptive Resonance Theory) neural network model raises a number of subtle issues. Pattern context must enter the definition so that input features, treated as irrelevant noise when they are embedded in a given input pattern, may be treated as informative signals when they are embedded in a different input pattern. The ATR automatically self-scales their computational units to embody context and learning dependent definitions of a signal and noise and there is no problem in categorizing input pattern that have features similar in nature. However, when we have imput patterns that have features that are different in size and nature, the use of only one vigilance parameter is not enough to differentiate a signal from noise for a good categorization. For example, if the value fo vigilance parameter is large, then noise may be processed as an informative signal and unnecessary categories are generated: and if the value of vigilance parameter is small, an informative signal may be ignored and treated as noise. Hence it is no easy to achieve a good pattern categorization. To overcome such problems, a Coupled-ART neural network capable of modularized categorization of patterns is proposed. The Coupled-ART has two layer of tightly coupled modules. the upper and the lower. The lower layer processes the global features of a pattern and the structural features, separately in parallel. The upper layer combines the categorized outputs from the lower layer and categorizes the combined output, Hence, due to the modularized categorization of patterns, the Coupled-ART classifies patterns more efficiently than the ART1 model.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• The Journal of Art Theory & Practice
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• no.9
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• Asia Marketing Journal
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• v.12 no.4
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• pp.27-54
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• 2011

This research attempted to present the efficiency of culture marketing to the organizations producing culture-art products and to the companies utilizing art and suggest the practical viewpoints to the culture and art policy agencies. The methodology used was to take an in-depth look at the consumer value cognition and benefits of culture-art products in contemporary consumption culture from a social context by conducting a total of 12 Focus Group Interviews, consisting of 58 males and females in their 10s~50s who can represent culture-art product consumers. The culture-art products refer to the artist's spiritual, actual act of creating or to the end products with economic exchange value. They are also sense goods and merit goods that affect the mental state of consumers. By looking at culture-art products as consumer merit goods, this research examined consumer value cognition of culture-art products based on the characteristics culture-art products. As a result, this research determined that consumers view culture-art products largely as 'aesthetic and sensuous merit goods', 'actual and individual merit goods', and 'social public property'. As 'aesthetic and sensuous merit goods', culture-art products are considered as the products of an artist's creative activities; as 'social public property', culture-art products have a public value in terms of ownership; and as 'actual and individual merit goods', culture-art products act on the spirit and reality of a consumer in terms of consumption. As a result of analyzing the benefits of culture-art products based on the above-mentioned consumer value cognition, it was observed that the benefits of culture-art-product consumption are chiefly divided into 'aesthetic character-oriented', 'social relationships-oriented', and 'individual benefits-oriented' depending on how consumers see culture-art products. A 3-conceptional structures model was constructed according to the relationship between consumer value cognition of culture-art products and the benefits. This research revealed that consumers who pursue the aesthetic value or sense of beauty as the central reason experience culture-art products themselves, enjoy intellectual quests, and pursue their satisfaction by expressing affection for and interests in culture-art products. On the other hand, consumers who pursue social value as the central reason as a means of communication by perceiving culture-art products as a public property of society, pursue sympathy with people close to them through the symbolic power of culture-art product consumption or the joy of self-display. Consumers who perceive art products as spiritual and actual merit goods and pursue consumer value as a central reason want to express their own personality, develop themselves, and differentiate themselves or identify themselves with others in the context of social relations for the ultimate goal of living a happy and satisfied life while pursuing to satisfy imminent and actual necessities as emotional stability and rest. The fact that culture-art product benefits could vary according to how a consumer perceives them implies that consumer value cognition of culture-art products and their benefits significant affect consumers' decision in choosing and consuming various culture-art products. It turned out that such benefits from the consumption of culture-art products reflect the complex contemporary consumption culture of rational consumption, symbolic consumption, experiential consumption, and social reflective consumption. This research identified conceptional structures of consumer value cognition on culture-art products and benefits that can be used for studying and understanding culture-art products consumers who pursue a variety of consumption values. They can also be used by private companies in utilizing art, as well as by national agencies in enhancing the population's quality of life. However, since this research could only conceptually grasp consumer perception of culture-art products and reveal the dimension of classification due to its own limitations arising from characteristic investigation, quantitative data on the benefits of culture-art product consumers should be measured in future studies through a quantitative investigation, while using the value cognition of culture-art products and the individual characteristics of consumers as variables based on this research.

• Journal of Service Research and Studies
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• v.13 no.1
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• pp.108-126
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• 2023

This study explored the sustainability of a blockchain-based cultural art performance video platform through the construction of Gyeonggi Art On, a new media art broadcasting station in Gyeonggi-do. In addition, the technical limitations of video content transaction using block chain, legal and institutional issues, and the protection of personal information and intellectual property rights were reviewed. As for the research method, participatory observation methods such as in-depth interviews with developers and operators and participation in meetings were conducted. The researcher participated in and observed the entire development process, including designing and developing blockchain nodes, smart contracts, APIs, UI/UX, and testing interworking between blockchain and content distribution services. Research Question 1: The results of the study on 'Which technology model is suitable for a blockchain-based performance video content distribution public platform?' are as follows. 1) The blockchain type suitable for the public platform for distribution of art performance video contents based on the blockchain is the private type that can be intervened only when the blockchain manager directly invites it. 2) In public platforms such as Gyeonggi ArtOn, among the copyright management model, which is an art based on NFT issuance, and the BC token and cloud-based content distribution model, the model that provides content to external demand organizations through API and uses K-token for fee settlement is suitable. 3) For public platform initial services such as Gyeonggi ArtOn, a closed blockchain that provides services only to users who have been granted the right to use content is suitable. Research question 2: What legal and institutional problems should be reviewed when operating a blockchain-based performance video distribution public platform? The results of the study are as follows. 1) Blockchain-based smart contracts have a party eligibility problem due to the nature of blockchain technology in which the identities of transaction parties may not be revealed. 2) When a security incident occurs in the block chain, it is difficult to recover the loss because it is unclear how to compensate or remedy the user's loss. 3) The concept of default cannot be applied to smart contracts, and even if the obligations under the smart contract have already been fulfilled, the possibility of incomplete performance must be reviewed.

• Journal of Information Display
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• v.10 no.3
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• pp.101-106
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• 2009

In this study, a physical OLED analog behavior model for SPICE simulation was described using the Verilog-A language. The model was presented through theoretical equations for the J-V characteristics of OLED derived according to the internalcarrier emission equation based on a diffusion model at the Schottky barrier contact, and the mobility equation based on the Pool-Frenkel model. The accuracy of this model was examined by comparing it with the results of the device simulation that was conducted.

• Journal of The Korean Association For Science Education
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• v.32 no.3
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• pp.428-445
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• 2012

The objective of this study is developing an instrument for investigating views of the respondents on nature of science(NOS) by using experienced scientific knowledge, atomic model. It consists of total six questions and 36 detail items, and each question is reflected the aspects of different NOS which are 'recognition on the model', 'tentativeness of scientific knowledge', 'subjectivity in science', 'use of inference and imagination', 'myths of the scientific method', and 'comparison between science and art'. Particularly, 'comparison between science and art' is addressed almost for the first time in this questionnaire. In the class environment almost not to teach nature of science linking with concrete scientific knowledge, to inquire how the students recognize nature of science, relating to experienced scientific knowledge through this questionnaire will give the data of scientific knowledge based recognition on the nature of science and an important implication for nature of science teaching with concrete scientific knowledge. Developing processes have gone through four steps. In first step, we chose aspects of NOS and developed questions and details. In second step, we tested the draft into fifteen science teachers and, reflecting their opinions, corrected the form and contents of questionnaires. In third step, we tested the questionnaire included writing section for expressing thoughts of the respondents into 55 students in science high school and checked index of coincidence between Likert and open-ended responses which shows 88.2% degree of consensus. Furthermore, to identify the feature of using concrete scientific knowledge we applied this and views on science and education questionnaires together into six university students. We performed final test to 68 university students and measured Cronbach's, and ultimately completed final questionnaire in last step.

• The Journal of Fisheries Business Administration
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• v.46 no.3
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• pp.103-118
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• 2015

The purpose of this paper is to discuss possibilities of applying growth curve models, such as Logistic, Log-Logistic, Log-Normal, Gompertz and Weibull, to three specific technology areas of Fishery Science and Technology in the process of measuring their technology level between Korea and countries with the state-of-the art level. Technology areas of hazard control of organism, environment restoration, and fish cluster detect were selected for this study. Expert panel survey was conducted to construct relevant panel data for years of 2013, 2016, and a future time of approaching the theoretical maximum technology level. The size of data was 70, 70 and 40 respectively. First finding is that estimation of shape and location parameters of each model was statistically significant, and lack-of-fit test using estimated parameters was statistically rejected for each model, meaning all models were good enough to apply for measuring technology levels. Second, three models other than Pearl and Gompertz seemed very appropriate to apply despite the fact that previous case studies have used only Gompertz and Pearl. This study suggests that Weibull model would be a very valid candidate for the purpose. Third, fish cluster detect technology level is relatively higher for both Korea and a country with the state-of-the-art among three areas as of 2013. However, all three areas seem to be approaching their limits(highest technology level point) until 2020 for countries with the state-of-the-art. This implies that Korea might have to speed up her research activities in order to catch up them prior to 2020. Final suggestion is that future study may better apply various and more appropriate models respectively considering each technology characteristics and other factors.