• The Korean Journal of Archival Studies
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• no.20
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• pp.151-212
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• 2009

Museums are producing new value and being redefined as places that reproduce context, as the process of globalization are being reflected in museum activities. The new additional functions and roles to the traditional mission of museums allow artworks to find potential functions of art archive and meseum. At the same time, the public has faced originality and aura of an artwork by viewing the physical subject. However, with the appearance of a new digital object, the initiative of viewing has moved over from the artwork to the hands of the public. Now, the public does not go to the museum to see an artwork, but has started to adopt to an opposite paradigm of bringing the artwork forward to the screen. Therefore, they are not satisfied any longer with just seeing an artwork, but demand more information about the artworks and reproduce it as knowledge. Therefore, this study aimed to find types and characteristics through definition and range selection of art archive at this point where the value of art archive is enhanced and systematic management is required, and to present record management methods according to art archive structure and core execution function. It especially stressed that the basis of overall art archive definition was in an 'approach' paradigm rather than a 'preservation' paradigm, and embodied various application methods of digitalized art records. The digital object of an artwork was recognized as the first materialization of an actual artwork, and the digital original of an artwork was presented as the core record. Art archive managed under physical and intellectual control were organically restructured focusing on digital original copies of artworks, which are the core record in a digital technology environment, and could be provided to users in forms of various services that meet their demands. The beginning of systematic management of such art records will become a first step to enhance historical value, establish art cultural identity, and truly possess art culture.

• International Journal of Costume and Fashion
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• v.14 no.1
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• pp.63-73
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• 2014

With the rapid development of digital technologies potential exists to expand upon the accessibility of fashion archives and increase their use as a pedagogical tool for research. At present this is compromised due the three-dimensional, tactile nature of the objects being viewed and the fact that they are not necessarily replicable in a digital format. The aim of this paper is to examine art and design students physical object research skills and discuss how they are positioned in relation to creative tools and strategies they use to produce outcomes such as they own collections and design responses. Findings and conclusions are drawn from projects concerned with the development and use of physical and virtual archives and inform the methodology used. Traditional methods and tools within higher education are discussed together with students increased use of digital resources and innovative ways to engage students. The academic challenge of supporting student engagement in archival research across digital and physical dimensions is explored. The papers findings indicate a need for further research considering the impact of digital technology on students' physical integration with archives and the need for more structured support surrounding student physical and digital research investigations.