• Asia Marketing Journal
• /
• 제12권4호
• /
• pp.27-54
• /
• 2011

본 연구는 문화예술상품 소비자 연구를 위한 개념적 구조를 마련하고, 문화예술상품 생산기관 및 문화예술정책기관과 문화예술을 활용하는 기업의 문화마케팅의 효율성을 위하여 문화예술정책기관에 실무적 시사점을 제시하기 위하여 실시되었다. 현대소비문화 속에서 문화예술상품 소비자의 가치인식과 추구혜택을 사회적 맥락에서 심층적으로 파악하기 위해, 문화예술상품 소비자를 대표할 수 있는 10대부터 50대까지의 남녀 58명을 12개의 그룹으로 나누어 총 12회에 걸친 표적집단면접(FGI)를 실시하였다. 문화예술상품은 예술가의 정신적·관념적 창작행위나 그 결과물인 작품에 경제적 교환가치가 부여되어 소비되는 상품이다. 문화예술상품의 특성을 바탕으로 문화예술상품에 대한 소비자의 가치인식의 개념구조를 알아본 결과 '실제적·개인적 가치재', '사회적 공공재', '미학적·감각적 경험재'로 나타났으며, 경험적 소비재의 관점에서 문화예술상품 소비 추구혜택의 개념구조를 알아본 결과 '예술적 특성지향', '사회적 관계지향', '개인적 유익지향'의 방향성을 가지고 있는 것으로 나타났다. 문화예술상품 소비에 대한 이와 같은 소비자의 가치인식과 추구혜택의 개념구조는 합리적 소비, 기호 상징적 소비, 경험적 소비, 반성적 소비라는 복합적인 현대소비문화가 반영된 것으로 해석 할 수 있다. 문화예술상품에 대한 소비자 가치인식과 추구혜택의 관계를 개념적으로 분석한 결과 문화예술상품 소비자의 가치인식에 따라 추구혜택이 다르게 나타나는 것을 확인할 수 있었다. 이러한 결과는 문화예술상품에 대한 소비자의 가치인식이 추구혜택의 특성을 형성하며, 소비를 결정하고 문화예술상품을 선택하는데 있어서 중요한 영향을 미칠 수 있다는 것을 시사하는 것이다. 본 연구 결과로 나타난 가치인식과 추구혜택의 개념구조는 문화예술상품 소비자 연구의 측정도구 개발에 사용될 수 있으며, 기업의 효율적인 문화예술마케팅 전략 및 소비자 중심의 문화예술상품 생산과 국민의 삶의 질을 향상시키고자 하는 국가기관의 정책 수립에 필요한 소비자 정보로 활용될 수 있을 것이다.

• 디자인학연구
• /
• 제13권
• /
• pp.177-200
• /
• 1996

The purpose of this study is to show the textile designers how to be creative and how to accept other ideas which are not necessarily of their own, and to show what exactly creating anything means. During the 1950's and'60s. America and Europe reached their peak in developing their consumption culture. After World War II, America achieved an astonished feat in developing its thechnology and industry to cause the economy to a rapid ascendence. The U.S. government adopted the Keynsian theory in its economic policy. The Keynsian theory advocates the consumer spending. And during this time period the American public developed consumption habit. Mass production and mass media went in hand to induce the public to buy. The public became an important target for the advertising stratages of the industry. In order for the industry to advertise the mass produced products, it had to utilize the mass media such as television, newspaper, and magazine. And mass media came into play an important role not to advertise the products, but to imform and educate the public about the products. This corporate stratege is further enhanced by the desire of the American public to climb up the ladder by way of material possession. Pop Art was born not only in reflecting the ideology of the consumption culture, but acted as a catalyst for more spending. The subjects of Pop Art are cars, foods, comics, Hollywood actors and movie scenes, the famous singers or persons. Andy Warhol specifically used the chosen image repeatedly to emphasize the redundacy of the image. The common factors which exist between Andy Warhol's Pop Art and textile design is the repetition in form, and the way of transferring an image to a canvas - Warhol used the frotttage technique to transfer an image to a canvas and textile design is transferred to a paper by way of transferring technique. Also the way Warhol thought of his paintings as a decorative elements and made a couple of his paintings into wallpapers or exhibits his painstings wall to wall demonstrates his close alliance with the textile design, let alone his comercial design background. In this study, I examined the inter-relationship between textile design and Pop Art. To carry out this study, I examined the comsumption culture: and the biomorphic relationship of culture and art: and Pop art and its transience stage. The major finding of this study is there exists a common denomenator between textile design and Pop Art, especially of Andy Warhol's.

• 한국식품조리과학회지
• /
• 제30권5호
• /
• pp.547-555
• /
• 2014

The purpose of this study is to understand consumer awareness and preference regarding rice cakes by surveying the awareness, preference, and consumption behavior of college students regarding rice cakes, and to survey their perception and usage of rice cakes, thereby using the results as basic data to establish measures to develop Korea's rice cakes. To sum up the study's results, the survey included both male (54.5%) and female (45.5%) subjects. Those aged "20 to 23" accounted for the largest share (67.9%) of total respondents, and those majoring in "humanities and social studies" comprised the largest portion (47.8%). A majority of the respondents resided in "small and medium-sized cities", and most either lived at home or lived away from their families. A majority of the subjects received monthly allowances ranging from 200,000 to 300,000 won. In order of awareness, the most well-known type of rice cake was "injeolmi (rice cake made from glutinous rice and coated with bean flour)", followed by "songpyeon (half-moon-shaped rice cake)", "garaeddeok (bar rice cake)", and "baekseolgi (steamed white rice cake)". The women were better aware of "injeolmi", "baekseolgi", and "garaeddeok" than the men, and "soemeoriddeok" was not commonly known among either gender. In terms of preferences for rice cakes, overall, the subjects liked "injeolmi" and "songpyeon" the most. However, certain differences were found in preferences for rice cakes between the men and women. The women exhibited higher levels of preference for "injeolmi" and "songpyeon" than the men. On the other hand, the men revealed higher levels of preference for "baekseolgi", "jeolpyeon", and "garaeddeok" than the women. The most common answer to important factors for popularizing rice cakes was "a diverse assortment of rice cakes", followed by "the development of creative technologies" and "the taste of rice cakes reflecting consumer needs", in order of importance. Among the important factors to popularize rice cakes, "the development of unique packaging containers for rice cakes" (p<0.05) and "the development of proper packaging materials" (p<0.05) showed statistically significant differences. In the survey of consumption of rice cakes, the most frequent answer to the question "why do you like rice cakes? was "their tastes are good" with 146 respondents, followed by "I have been eating them for long" with 115 respondents. To the question "when do you use rice cakes", the most frequent answer was "I use them in daily life" with 133 respondents, followed by "I use them at special events" with 115 respondents. The women were found to use rice cakes frequently in daily life, whereas the men used them frequently at special events. When asked whether they had the intention to use rice cakes as a meal substitute, 100 men answered that they had no intention, whereas 96 women answered that they had the intention. When asked about the type of rice cake considered suitable for a meal substitute, the most popular answer was "injeolmi" with 108 respondents, followed by "baekseolgi" with 106 respondents.

• 디자인학연구
• /
• 제17권3호
• /
• pp.303-312
• /
• 2004

본 연구는 광고와 영화의 겹합 즉 무버셜(movercial)에 관한 연구에 대한 논의를 이끌어내고자 하는데 목적을 두고 있다. 이를 위한 본 연구의 연구목표는 다음의 두 가지로 정리된다. 첫째는 영화와 광고의 결합(movercial)은 기존의 제품배치와 어떻게 달리 경험되는가를 살펴보는 것이며, 둘째는 무버셜에 대한 수용자의 경험은 영화주제와 소비관련 주제별로 어떤 특성을 나타내는가를 살펴보는 것이다. 이 연구는 인터넷문화의 확산과 모바일 커뮤니케이션 환경속에서 새로운 크리에이티브 포맷으로 부각되고 있는 무버셜이 수용자에게 어떻게 경험되는지에 대해 영화중심 주제와 소비관련 주제로 구성된 분석유목을 통해 질적인 접근을 시도했다. 이를 위하여 영화속 브랜드 배치에 관한 선행연구에 사용된 분류방법을 활용하여 무버셜 수용자를 아마추어와 매니아 집단으로 구분하여 핵심집단 면접과 개인별 심층면접을 실시함으로써 무버셜에 대한 수용자의 경험을 살펴보고자 하였다. 본 연구의 분석결과를 통한 주요 함의는 다음과 같다. 첫째, 무버셜을 통한 브랜드의 사전노출은 실제생활에서 광고의 사전친숙도를 높여주는 것으로 나타났다. 둘째, 무버셜이 광고와 PPL과 함께 구매결정단계에 영향을 미칠 수 있는 도구로 활용되어질 수 있다는 것이다. 셋째, 응답자들은 문화, 예술전반에 까지 침투한 무버셜이라는 상업적 하이브리드 포맷에 위화감과 불편함을 경험하고 있음을 알 수 있었다.

• 미술이론과 현장
• /
• 제2호
• /
• pp.169-190
• /
• 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.

• 유통과학연구
• /
• 제13권7호
• /
• pp.63-71
• /
• 2015

Purpose - The characteristics of the modern management environment in Korea clearly involve the limitations of knowledge management, globalization, changes in industrial structures, polarization of the economy, consumption, and education, and the demand for creative management. To achieve a continuous competitive advantage for individuals as well as organizations, Wisdom Management can be said to be a paradigm for the current environment. The Research is an alternative to environmental management in the early study of the need to conceptualize the theoretical approach to wisdom management. In other words, it presents a new management paradigm for a business environment of uncertainty and unpredictability. Furthermore, it aims to propose Wisdom Management as an alternative in the modern management environment as well as a topic of discourse. Its purpose is to provide basic knowledge to people who study and practice in this field to strengthen the competitiveness of individuals and companies. Research design, data, and methodology - This paper first provides six characteristics of the current management environment at home and abroad. It then attempts to emphasize the necessity of wisdom based on such characteristics by classifying wisdom according to recent management study research. This allows the derivation of definitions of wisdom management, suggesting its components and properties. Results - The six characteristics of the modern business environment are: 1) limits of knowledge, 2) intensifying globalized competition, 3) changes in industry structure - IoT (Internet of all Things) trend, 4) serious polarization and social unrest diffusion, 5) personal and organizational competitiveness creativity requirements, and 6) domestic special national and social situations. Therefore, accordingly, wisdom can be defined and classified as: wisdom that offers potential integration beyond knowledge, practicing and maintaining knowledge wisdom as an efficient strategy for an organization wisdom as a decision-making process that addresses ambivalence wisdom as the pursuit of common goods based on ethics; and, wisdom as creativity that involves intuition and insight. This paper attempts to define Wisdom Management in accordance with these definitions of wisdom. Wisdom Management is a management system that is awareof the current environment given in the multidimensional perspective, achieves the efficiency of the organization and the goals of common good through an uncertain decision-making process, based on the organization of individual and organizational knowledge, and the internal experiences and resources. Wisdom Management components include human beings, virtue, knowledge, creativity, and ambivalent thinking. Its properties include intentionality, self-destructiveness, creative and ethical reflexivity, complexity, insight, unpredictability, ambivalence, and wholeness. Conclusions - Since all organizations face the limitations of their environment, crises, and opportunities, applying wisdom in management to develop as Wisdom Management can be an inevitable alternative to the uncertainties of the management environment faced by modern society. The conceptualization of Wisdom Management forms a valuable context to further advance knowledge management theory into practice. It is also a cornerstone of strategic management and can provide insight into its potential for success and implementation.

• Asia Marketing Journal
• /
• 제14권2호
• /
• pp.97-125
• /
• 2012

연구목적 - 최근 기업에서 마케팅이나 광고를 할 때 아트를 활용하여 기존의 명화나 아티스트들과 협업한 새로운 작품을 제품에 접목하거나, 마케팅에 활용하는 경우가 늘어나는 추세이다. 아트 콜라보레이션 제품을 새로운 자극으로 생각하고, 자극에 민감하게 반응하는 독특성 추구성향과 호기심이 많은 소비자일수록 아트 콜라보레이션 제품에 대한 호감도가 증가할 것으로 본다. 따라서 본 연구는 아트마케팅에 대해 전반적으로 살펴보고, 개인특성인 호기심과 독특성 추구성향이 아트 콜라보레이션 제품에 대한 소비자의 감정에 미치는 영향과 구매의도에 미치는 영향을 알아 보았다. 그리고 성별에 따라 개인특성과 소비자의 감정 사이에 미치는 영향은 차이가 있을 것이라 예측하고 성별의 조절효과를 살펴보았다. 연구결과 - 호기심은 긍정적 감정에 정의 영향을 미치며, 환기와 부정적 감정에는 영향을 미치지 않는 것으로 나타났다. 독특성 추구성향 중 창의적 선택은 긍정적 감정과 환기에 정의 영향을 미치며, 부정적 감정에 부의 영향을 미치는 것으로 나타났다. 독특성 추구성향 중 비대중적 선택은 긍정적 감정과 부정적 감정에는 영향이 없는 것으로 나타났으며, 환기에는 유의한 것으로 나타났다. 그리고 독특성 추구성향 중 유사성 회피는 소비자의 감정에 어떠한 영향도 미치지 않는 것으로 나타났다. 그리고 성별에 따른 차이를 살펴본 결과, 창의적 선택과 부정적 감정 사이와 비대중적 선택과 부정적 감정 사이에서만 남녀 간의 차이가 유의한 것으로 나타났다. 시사점 - 소비자의 호기심을 유발시킬 수 있는 새로운 디자인이나 전략을 시도하면 효과적일 것을 알 수 있으며, 독특성 욕구 중 자신의 정체성을 표현하고자 하는 욕구가 높은 사람이 아트 제품에 대하여 감정의 영향을 많이 받음을 알 수 있다. 따라서 지속적으로 예술가들과 콜라보레이션 활동을 통해 소비자의 감성을 자극하는 제품을 생산해야 할 것이다. 성별에 따른 큰 차이가 없으므로 남녀 구분없이 모두의 관심을 끌 수 있는 마케팅을 해도 무관하다는 것을 알 수 있다.

• 한국기계가공학회지
• /
• 제14권2호
• /
• pp.14-18
• /
• 2015

In recent years, world is faced with a transportation energy dilemma, and the transportation is almost dependent on a single fuel - petroleum. However, Hybrid Electric Vehicle (HEV) technology holds more advantages to reduce the demand for petroleum in the transportation by efficiency improvements of petroleum consumption. Therefore, there is a trend that lower gear noise levels are demanded in HEV for drivers to avoid annoyance and fatigue during operation. And meshing transmission error (T.E.) is the excitation that leads to the tonal noise known as gear whine, and radiated gear whine is also the dominant source of noise in the whole gearbox. In this paper, the analysis of gear tooth profile and lead modification is firstly presented, and then, the different transmission error of no mesh misalignment and mesh misalignment under one loaded torque for the 1st gear pair of HEV gearbox was investigated and compared. At last, the appropriate tooth modification was used to minimize and compare the transmission error of the gear pair with mesh misalignment under the loaded torque.

• KIEAE Journal
• /
• 제12권4호
• /
• pp.89-95
• /
• 2012

At present, many countries are trying to reduce green gas emissions to mitigate the effects of these gases on climate change. Year after year, there have been efforts to cut energy use for heating and cooling. Heating and cooling systems, common in all forms of housing, are increasing due to the constant supply of new housing resulting from improvements in economic growth and the quality of life. Thus, studies related to the design of cooling and heating systems to improve energy efficiency are expanding. Among the new designs, radiant floor cooling and heating systems which use capillary tubes are becoming viable means of reducing energy use. Radiant floor cooling and heating systems which use capillary tubes are creative and sustainable systems in which cool and hot water is circulated into capillary tube which has small diameter. In this study, the cooling and heating performance of this type of capillary tube system is investigated in an experimental study and a simulation using TRNSYS. The results of the experimental study show that under a peak load, a capillary tube radiant floor cooling system using geothermal energy can achieve desired indoor temperature without an additional heat source. The set room air temperature is maintained while the floor surface temperature, PMV and PPD remain within the comfort range. Also, this system is more economic than a packaged air conditioner system due to its higher COP. The results of the simulation show that the capillary tube radiant floor heating system maintains set temperature more stable than a PB pipe radiant floor heating system due to its lower supply temperature of hot water. In terms of energy consumption, the capillary tube radiant floor heating system is more efficient than the PB pipe radiant floor heating system.

• 디자인학연구
• /
• 제12권3호
• /
• pp.155-164
• /
• 1999

1995년도를 기준으로 일인당 우유소비량이 54.5Kg으로 중가한 낙농시장을 기존의 몇몇 유업체들이 주도해 오고 있으나, 그 속에서 연세유업, 건국유업, 삼육대학식품과 같은 대학교와 연계돈 회사들도 대리점 유통을 통해 낙농시장에 참여하고 있다. 이러한 대학유업 브랜드들은 대학교의 긍정적 이미지에 힘입어 제품브랜드와 대학교 홍보사이에 시너지 효과를 누리면서 유제품판매에 차별화를 두고 있다. 이에 전국에서 낙농산업이 가장 발달한 경기도 안성에 위치해 있으면서 1996년 농림부에 의해 낙농특성화대학으로 선정된 한경대학교는 연구기능을 하는 고등교육기관의 이미지, 신속한 유통에 유리한 수도권 소재, 유리한 낙농기반환경, 학교의 오랜 농업적 배경 등을 장점으로 내세워 차별화된 낙농 브랜드 이미지를 구착하고자 한다. 그 구체적 브랜드 이미지로는 첫째, Confidence- 낙농특성화대학이 표기된 한경대학교의 로고와 심볼, 둘째, Fresh- 브랜드 심볼에 의한 이미지 차별화, 셋째, Gealth- 개별제품의 특성을 반영한 개별브랜드의 개발을 목표로 낙농 브랜드 디자인을 개발하였다.