• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.81-91
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• 2013

Social Media has been vitalized according to development of technology, it make the crowd-funding which have a form of new donation culture. The crowd-funding has been known as form that is supported for getting investments of ongoing or new project by much public in area of cultural art. Nowadays it receive attention from the movie content production. There are so many successful case such as , in abroad while it is hard to find distinct case in Korea' the movie content production market. Since the movie <26 years> informed public of 'the crowd-funding', recently was successfully complete first and second fund-raising and third fund-raising is in progress. It is upraised as a representative successful case.

• Journal of the Korean Society for information Management
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• v.5 no.1
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• pp.31-52
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• 1988

The information policy in Japan have bccir growing rapldlr 111 recent vttars. \'arioi~s level of govc~riimerital organrzatlons, ir~bt~tution arid agrircics have undt~rtak~~rr iriforrnatiori polrcy 111 order to i r l - crease information flow toward tlie society in Japan. At tlie same trme, computerized library systems also h a w uridergoirc rapid expansion. NACSIS(National Ceriter for- Science Informat~on System) wl~icl~ was cstablisl~ed bv Mirristr> of Etlr~c~arion, Sc~ence arid Culture haw witnessed dramatic adv;rnces i r i promoting for corrstructiori of database so as to provide their 11rf'3r.mat1orr nu nationwide scale. T l r i h articlr inrroduccs tlie actr\rtle> and ~mplcmeritat~o~~ of it format in^^ pol~cy wl~i(~li taktas a place hy goverrirnrlit of Japar~ aid arraly~c,.; thi~ ~ I . O I . P S I of deciiioii maltiiig iri polit~cal procedures. So far as b:ast-A\~ari riatioris art, ~ . n r i v t ~ r ~ ~ , e.;pc,ciall\. Kr,rc.an a~rd Japair !rave ,imilar cultural and liistorical backjir. ourii1, ard could t)t. tliif most a p p r o p r i a t ~ ~ caac stlldh for political ~nq~lerncritat~orr. Thus the topic of this artrclc will be useful to r t ~ a l l ~ t . Ore, trail ur~d c r r o r prorex, iri iiiior.matior~ pnlic\ulcorner.

• (The) Research of the performance art and culture
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• no.33
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• pp.243-271
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• 2016

When an aggressive war reached at the climax in 1940, a commemorative event called celebration' was held on a large scale in Japan for 'beginning former 2,600 years. It was performed for the policy that was going to break off the fatigue that was tired for nation dissatisfaction and war for the politics. I considered Urayasu-no-mai Dance played as part of a celebration event in a Shinto shrine of the all over Japan how was created and spread by this article Urayasu-no-mai Dance was created newly and was played in Shinto shrines of the whole country. The Urayasu-no-mai Dance was created based on Gagaku and Miko Mai (shrine maiden's dance) that has been read aloud not to go out of the ancient times. It was created in the situation of the war and spread and was spread. It will be said that Urayasu Dance is a typical example of 'forged traditional'. Urayasu Dance is a tradition made at modern time and remains for an unfortunate inheritance used again by the advertising tool of the national ideology. The Urayasu-no-mai Dance is expanded more now, without enough consideration about the historic procession other words, It played under a strong-arm society atmosphere is placed as new folk performing arts all too soon. In the complicated world situation at the time, Urayasu-no-mai Dance that emphasized a Japanese tradition for the inside and outside were spread. Urayasu-no-mai Dance created in modern times substitutes a traditional shaman dance, and there is even the tendency that ritual performing arts peculiar to each local Shinto shrine is unified to Urayasu-no-mai Dance. Such a movement shows a new aspect of the culture power that social turning to the right in Japan is not unrelated to becoming it. It is a traditional reinvention, or do you forge the tradition? I examined a process of a process and the spread of traditional creation produced consistently.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.3
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• pp.357-365
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• 2018

In the 21st century, as the emergence of the age of creative economy is expected, interest in the cultivation of creative talents required in society around the world is newly rising. Sustainable development education should not be limited to school education, but should be promoted and supported at all social education sites for the purpose of lifelong education. Therefore, the purpose of this paper is to consider the relationship between the possibility of formal and informal learning and the development of capacity in higher education. Exploratory and qualitative research based on intensive groups was designed using several groups of formal and informal learning settings. In China, the creation of a creative economy is set as a major national policy direction for the new government. What is required for talented people in the creative economy era and how to educate them is becoming a major policy issue. The development of core competencies requires multiple contexts based on cognitive non-cognitive disposition. By combining the formal and informal learning environment within higher education for the purpose of a new learning culture, it can provide a variety of situations and improve competency development. While this study can identify aspects of formal and informal learning settings, the interdependencies between them are still difficult to grasp. However, practical implications can be seen clearly. In other words, based on the results, you can point out key aspects of competency acquisition that can be a key element in the higher education environment. As a result, this study analyzed implications for formal and informal learning environments for new ways of developing core competencies in higher education.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.131-143
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• 2010

This paper investigates the history, policy and status of the conservation of historic gardens in the National Trust in England and its implications for Korea. It was conducted in three phases as follows: First, related literature data was collected to understand the National Trust and its role in the conservation of historic gardens. Second, The National Trust Policy Papers: Gardens and Landscape Parks in 1996 was reviewed and analyzed into eight categories with a review of 216 gardens and interviews with gardener-in-charge via e-mail. Finally an understanding of the policy for the conservation of historic gardens was formed from the results of the previous phases, and implications were drawn from the integrated analysis guidelines of the policy and status. The key feature of the conservation of the National Trust's historic gardens is that the conservation process has been conducted systematically through acquisition, management, upkeep, advice and so on. Furthermore, the conservation principles are defined in a concise and accessible form. According to their practical conservation process and principles, the results of the National Trust activities are to appreciate the significance of the gardens and act with accountability; integration; managing change; access and participation; and training gardener and partnership. According to the results of its activities under the premise that the purpose of the conservation and the meaning of a garden do not differ significantly among nations, implications for Korea can be primarily suggested by three points as follows: First of all, a flexible approach to change in historic gardens should be managed. In response to inevitable and desirable change, anything that is added or transferred should be recorded for the future as much as possible. Therefore, everything must be recorded and any change should be managed. Second, is to provide sustainable access for the benefit for the people and visitors. The aim of conserving the gardens is for human's to eventually understand that the present generation just borrows the historic gardens before they are passed down. The ensuing implication is that people may enjoy the gardens educationally, aesthetically, and physically, and children can be continuously interested in historic gardens as apart of educating the future generation. Finally, the National Trust educates apprentice gardeners who will maintain the historic gardens and continuously keep the current garden staff up to date with workshops. This is in contrast to the day laborers who work for historic gardens in Korea. In practice, the maintenance of historic gardens is not a simple process. The gardener must understand the past, reflect the present, and prepare for the future. Therefore, gardeners deliver culture from generation to generation.

• Review of Culture and Economy
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• v.20 no.1
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• pp.51-80
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• 2017

This study aims to analyze various issues and problems in the implementation process of cultural impact assessment in 2016. As a result of the analysis, it is found that the evaluation index of the cultural impact assessment is difficult to understand, and the referring data and materials in the evaluation planning phase in the process of the cultural impact assessment are deficient, and the evaluation planning is based on surveys rather than various methods. And there are some problems with evaluation scales and weighting, and they are focused on the evaluation itself rather than the feedback of the evaluation results. Therefore, this study suggests that, in the evaluation planning phase, the different methods of comparing the evaluation results according to the project execution, the project progress, and the completion time of the project should be adopted, and the project manager and the evaluation group participate developing the evaluation indicators together, and methodology for identifying causal relationship such as system dynamics will be adopted. In the stage of evaluation, it is necessary to introduce various methodology such as diverse residents participation, abundant case study, application of quantitative methodology, and the utilization of expert evaluation teams. In the evaluation feedback stage, it is necessary to provide thorough consulting based on the evaluation results.

• Journal of Digital Convergence
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• v.13 no.7
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• pp.1-8
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• 2015

To identify the satisfaction level towards Gwangju regional TV broadcasting company's program, "I Like the Market" and the effect of market vitalization on the market merchants' public relationships, this study carried out survey targeting 256 merchants who are residing at the region. The research results demonstrated that the satisfaction level towards the program and market vitalization via the program exert significant effect on the public relationships. Specifically, satisfaction level towards the program for the vitalization of regional broadcast exert effect in the following order; devotion, relationship and reliability. Meanwhile, market vitalization exert positive effect on the relationship, reliability and devotion, in the order mentioned. This implies that the development of quality program for the regional residents plays an important role in the convergence of regional broadcast and in increasing broadcasting company's brand image. Accordingly, positive interaction via regional vitalization when it comes to the formation of regional broadcast program going forth may be needed for regional broadcast policies.

• Journal of Digital Convergence
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• v.20 no.5
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• pp.261-268
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• 2022

This study tried to understand the meaning of resource attraction, entertainment experience, love mark, and attachment of tourist destinations. A theoretical study was conducted on each research concept to achieve the proposed research purpose. Based on this, an empirical study was conducted after deriving a questionnaire based on this, and a non-face-to-face survey was conducted nationwide using population-proportional sampling. The empirical study was confirmed through the statistical programs SPSS25.0 and AMOS25.0. The resource attractiveness of the tourist destination had a positive (+) relationship with the influence on the tourists' experience. The relationship between the experience and the love mark had a positive (+) relationship. A positive (+) relationship was also formed in the relationship between experience and attachment. However, the relationship between love mark and attachment did not form a significant relationship.Because it reflects regional characteristics, it is a useful material for local culture and history, so protection, preservation, and active program development are required. is needed.

• Journal of Digital Convergence
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• v.12 no.2
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• pp.1-10
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• 2014

Recently, the value and the status of the digital archives that are built individually in the crossroads of oblivion and memory are due to big data has attracted attention globally is confusing. Video data that contains the cultural memory of the digital archive, such as culture, art, life, society, and social conditions of the time, it is a cultural heritage of national common expressed. Also, it remains a trace of history from the various media just like magazines, books, painting, photography, and film. Digital archive system is one of the best research results of media convergence and it has also a good opportunity to take full advantage of the new opportunities and cultural assets. The collection of infinite information of big data in perspective transient that exist at the same time compatibility of big data, it is trying to dismantle the cultural memory of us. It was asserted that must meet the criteria which can correspond to via the new digital era, will be applied to preserve the traditional media. The current image archive is necessary to accommodate proper two different directions.

• (The) Research of the performance art and culture
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• no.33
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• pp.329-354
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• 2016

Hyupryulrang was the position that announced the start and end of music in royal ceremonies. It appeared when the royal etiquette was categorized and implemented due to the five etiquette system, which was formed by the influence of Confucianism. Confucianism valued etiquette and music and this aspect was reflected in royal five etiquette, making music involved in royal ceremonies. So there was a need to have a mediator who will announce the insertion of music according to the process of royal ceremonies. For harmonious realization of royal ceremonies and music, hyupryulrang was indispensible. In Korea hyupryulrang appeared in Goryo era and lasted until Joseon era. Hyupryulrang during Joseon was handled by bongsanshi and once was taken by jeonak( 典樂) temporarily but finally was managed by officials in jang-akwon(掌樂院). Among the officials in jang-akwon, jang-akwon jeong(正) mainly served the role but jang-akwon chumjeong(僉正) and jang-akwon juboo(主簿) were sometimes recruited for the role according to circumstances. What was common among jang-akwon jeong, chumjeong, and juboo was that they were all danghakwan(堂下官). Danghakwan was an official who had the fundamental limitation of not being able to participate in policy making so was in a lower position compared to dangsangkwan. Meanwhile, according to circumstances of ceremonial process or the characteristics of ceremonies, gyeraseonjeonkwan(啓螺宣傳官), mushingyungseonjeonkwan(武臣兼宣傳官), and yeojipsa(女執事) were recruited as hyupryulrang instead of officials of jang-akwon, so that there would be no problems in ceremonies and performance of music. The activities of hyupryulrang can be summarized as setting up or laying down hui in most ceremonies that involved band. At night, however, as hui(麾) was invisible, jochok(照燭) or sometimes geumgogi(金鼓旗) was used. As for the term that referred to hyupryulrang, in case of royal banquet, the names of the ceremonial tools were borrowed such as geohuichabi(擧麾差備) and jochokchabi(照燭差備). The location of hyupryulrang was in the west on top of seogye(西階) facing toward the east, which was a position where hyupryulrang could watch the ceremonial process easily and be close to the band. That is, it was a position where one can see the space of ceremony and the space of music at the same time. Also, hyupryulrang was involved in musical parts related to ceremonies such as rehearsals, arrangement of the band, controlling the speed of music, and prevention of missing any musical pieces, and was in charge of such tasks. Hyupryulrang, who had to take charge of music in accordance with ceremonial procedure, was a mediator between royal ceremonies and music.