• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.182-189
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• 2024

Many South Korean universities highly value and place much investment on the development of students' characteristics as their core competency, offering corresponding educational initiatives and programs. The present study specifically evaluated the level of characteristic competency among freshmen at C University, in which characteristic development is at the central to the institution's core competency. The researchers conducted the study to utilize the findings to inform the design of liberal arts courses and extracurricular programs. The study recruited 210 freshmen at C University in Changwon, South Korea. To ensure anonymity of the respondents, an online questionnaire was administered during the data collection period (i.e., between December 5th and 7th, 2022) with a total of 201 faithful responses finally analyzed. The results showed an average characteristic competency level of 4.21 out of 5 among the freshman participants. Notably, the highest score was ranked in the 'righteous domain' (4.27±0.66), whereas the 'behavioral domain' scored the lowest (4.08±0.77). These findings provide valuable insights for the development of educational programs that aim to promote characteristic competency among university students. The implications of the findings are further discussed.

• (The) Research of the performance art and culture
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• no.41
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• pp.5-38
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• 2020

The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s~1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. "Public culture and arts" halls or "culture" halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined "culture and arts" as "matters regarding literature, art, music, entertainment, and publications." The definition became a ground for the current "multi-purpose" concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of "culture and arts" and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of "culture=arts=culture and arts" in his speeches. Arts belonged to the category of culture, but it was considered as "culture and arts." There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the "culture and arts = multiple purposes" of the system, "culture ≠ arts" of the cultural organization that pushed forward its establishment, and "culture and arts = arts" perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into "expansion of opportunities for the people to enjoy culture" to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of "culture and arts" in the Culture and Arts Promotion Act enacted under the Yusin system of the Park regime. The "multi-purpose" concept, which was the management goal of public performance halls, was born based on this. In this context of the times, proscenium performance halls of a similar structure and public culture and arts halls with a similar management goal were established around the nation, leading to today's performance art and culture in the nation.

• Review of Culture and Economy
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• v.19 no.2
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• pp.97-120
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• 2016

This study aims to identify how performing artists in Korea, who are the target beneficiaries of the Arts Council Korea's Performing Arts Fostering Program, Chang-jak-san-shil(CJSS), would perceive and assess the current state of CJSS and its effects. To do so, this paper has adopted a bottom-up approach as a theoretical lens for policy evaluative analysis. This research engages with qualitative research design by conducting a series of in-depth interviews and FGIs with 28 participants in total. The interview participants consist of CJSS grantees(n=21) and peer-review panels(n=7) based on the intension to enhance objectivity and reliability of the study. Results of the data analysis suggest that the grant program still carries pressing needs to achieve a success as follows: providing post-program support, enhancing transparency of the panel appointment process and the peer review process, reflecting different nature of each arts discipline, and having more open communications with arts professionals. Based on these findings, this paper will provide and discuss about policy implications which can contribute to the performing arts domain at large.

• Archives of design research
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• v.20
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• pp.231-240
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• 1997

In the every genre of arts we can find the oriental Yin-Yang idea which has been descended from olden time in the Orient. It arouses our big interest especially in the domain of design and plastic arts as well as in the every field of human culture, and its study and application will enrich the qualities of design and plastic arts. I think it is with the Yin-Yang idea that we have to chase to our own cultural activities to make differance from the others. Without it, we cannot advance any more the traditional heritage into better and higher state of level than the West, and our philosophy and spiritual activities be stagnant in the same cultural categories as oter countris have in common. The countries which have no distinguishing feature of their own are very easy to place themselves in the border of world culture, not in center of it only to give an immitatin of others. I would like to put great emphasis on Yin-Yang idea in the field of design and plastic arts because it will give newness and novelty to all the p대ple who are not familiar with the oriental Yin-Yang idea.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.327-345
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• 2018

This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey's six display factors. Projection features and movements were categorized into "Direct movements," "Indirect movements," and "Relative movements." Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users' motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.49-62
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• 2020

This research investigates how interest develops across a set of tasks within a course defined by a specific knowledge domain. The current study examined the relationships among self-concept, self-efficacy, Korea-related factors, and evaluation, in the context of learning about the Hanbok costume at Chinese universities. A survey (n=300) was conducted using an online survey website (www.sojump.com) from the 1st to the 25th of June. The structural equation model (SEM) analysis, including total and specific forms of self-evaluation with Hanbok courses, showed that self-concept was positively associated with self-efficacy. Conversely, K-culture interest and K-country image did not significantly affect self-efficacy in clothing, but positively affected Hanbok's self-efficacy. Meanwhile, the more self-efficacy perceived, the higher the level of evaluation. Overall, our findings imply that supporting the students' Korean culture interest, country image perception, and self-concept for regulation can enhance self-evaluation and self-realization success. Theoretical and practical implications for Hanbok courses are discussed.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.225-230
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• 2023

With the development of AI technology, there is a growing discussion about Text-to-Image Generative AI. We presented a Generative AI video production method and delineated a methodology for the production of personalized AI-generated videos with the objective of broadening the landscape of the video domain. And we meticulously examined the procedural steps involved in AI-driven video production and directly implemented a video creation approach utilizing the VQGAN-CLIP model. The outcomes produced by the VQGAN-CLIP model exhibited a relatively moderate resolution and frame rate, and predominantly manifested as abstract images. Such characteristics indicated potential applicability in OTT-based video content or the realm of visual arts. It is anticipated that AI-driven video production techniques will see heightened utilization in forthcoming endeavors.

• Korean Journal of Social Welfare Studies
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• v.40 no.2
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• pp.145-182
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• 2009

This study aimed to build up the concept of culture welfare. For this purpose, we analyzed the practitioners' understanding about culture welfare in culture and social welfare by Modified Grounded Theory Approach. The results showed that the practitioners did not understand the concept of culture welfare clearly, and revealed being in confusion. Their understandings about culture welfare were classified into five types, 1) a type denying a terminology, culture welfare itself, 2) a type without awareness about culture welfare, 3) a type regarding culture welfare as sub realm in the special domain of culture and social welfare, 4) a type undividing and integrating culture and social welfare, 5) a type recognizing an independent domain of culture welfare. But despite of large deviation like this, the practitioners were common to give emphasis on giving opportunities to everyone in the enjoyment of culture, for heightening the quality of life. Summing up, culture welfare is defined as 'all direct and indirect effort in culture and arts, in a narrow sense to economical vulnerable class, and in a broad sense to everyone, to raise cultural susceptibility, creative thinking, and potential competence for realization a life worthy of man. The significance of this study is in establishment the definite and practical concept of culture welfare through a deep analysis the practitioners' understanding. This will give the theoretical basis to the study and the development of various programs in culture welfare.

• Korean Institute of Interior Design Journal
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• v.25 no.6
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• pp.127-138
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• 2016

As the dark side of society, Idle spaces, which occurred with the paradigm change due to rapid modernization and industralization, has been existing as a severed part in cities. But with the periodic change, interest in the existing place and regional regeneration, and the necessity of reconsidering about the idle spaces values of space, city environment, socio-culture, and economy was proposed. I estimated that the change of relational aesthetics aspect of modern arts resulted in the consideration of recognizing 'place' of art, through the study, it was revealed that the form of modern arts and change of enjoyment were related to space, and the fact that this had a relation with the rise of artistic regeneration of idle spaces. mutually communicative relationship formation and practical form of arts was deducted through the interpretation of relational aesthetics, Idle spaces and artistic regeneration space can be categorized into forms of experiential space, creative space, and cultural space, depending on the formation of relationship between author-art-audience. Through the comprehensive analysis, Artistic regeneration space by relationship formation is Vitalization of various forms of art and participation program eliminates the boundary between creation and enjoyment, and the space itself can be said to contain extensive, integral, and nonterritorialization meaning as a place of experiencing art. In other words, Artistic regeneration space of idle spaces forms a close relationship with the local society, and is placed within the context of daily domain as an open space, straying off from the existing separative and closed artistic space configuration. and artistic changeover of idle spaces is not only the appearance of space that simply fulfills function according to transfiguration of modern art, but signifies that art is coexisting with space as an indivisible relationship, and can be said to be the foothold of new relationship creation as the practical 'place' of art.