• Journal of Distribution Science
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• v.10 no.1
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• pp.43-52
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• 2012

With the slowdown in environmental issues and the change of environmental consciousness, ecotourism is being discussed in various social fields. Ecotourism is being popularized for environmental protection, and now it is becoming a mainstream product from one of mass tourism. Ecotourism's emphasis on sustainable development in the tourism destination's society, economy, and environment, through ecotourism study and education, enable people to understand the core value of the ecological environment. 2011 was nominated as "the Year of World Forest" by the UN. In the recent years, forests are becoming increasingly important with their own values and functions in environment, economy, society, and culture. In particular, the global environmental issues caused by climate change are becoming an international agenda. Forests are the only effective solution for the carbon dioxide that causes global warming. Moreover, forests constitute a major part of ecotourism, and are now most used by ecotourists. For example, Korea, wherein 60% of the land is forest, attracts ecotourists. With the increasing interests in environment, the number of tourists visiting the ecosystem forest, which is highly valued for its conservation, is increasing significantly every year and is receiving considerable attention from the government. However, poor facilities in the forest ecotourism sites and improper market strategies are the reasons for the poor running of these sites. Furthermore, tourists' environmental awareness affects ecology environmental pollution or the optimization of forest ecotourism. In order to verify the relationships among tourist attractiveness, environmental consciousness, charm degrees of the attractions, and attitudes after tours, we established some scales based on existing research achievement. Then, using these scales, the researcher completed the questionnaire survey. From December 20, 2010 to February 20, 2011, after conducting surveys for 12 weeks, we finally obtained 582 valid questionnaires, from a total of 700 questionnaires, that could be used in statistical analysis. First, for the method of research and analysis, the researcher initially applied the Cronbach's (Alpha) for verifying the reliability, and subsequently applied the Exploratory factor analysis for verifying the validity. Second, in order to analyze the demographics, the researcher makes use of the Frequency analysis for the AMOS, measurement model, structural equation model computing, and also utilizes construct validity, convergent validity, discriminant validity, and nomological validity. Third, for the analysis of the ecotourists' environmental consciousness, impacts on tourist attractiveness, charm degrees of the attractions, and attitudes after the tour, the researcher uses AMOS 19, with the path analysis and equation of structure. After the research, researchers found that high awareness of natural protection lead to high tourist motivation and satisfaction and more positive attitude after the tour. Moreover, this research shows the psychological and behavioral reactions of the ecotourists to the ecotourist development. Accordingly, environmental consciousness does not affect the tourist attractiveness that has been interpreted as significant. Furthermore, people should focus on the change of natural protection consciousness and psychological reaction of ecotourists while ensuring the sustainable development of ecotourists and developing some ecotourist programs.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.

• (The) Research of the performance art and culture
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• no.40
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• pp.223-268
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• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.

• Korea Science and Art Forum
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• v.21
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• pp.31-43
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• 2015

Information and Communications Technology (ICT) is one of the technologies which represent the core value of the creative economy. It has served as a vehicle connecting the existing industry and corporate infrastructure, developing existing products and services and creating new products and services. In addition to the ICT, new devices including big data, mobile gadgets and wearable products are gaining a great attention sending an expectation for a new market-pioneering. Further, Internet of Things (IoT) is helping solidify the ICT-based social development connecting human-to-human, human-to-things and things-to-things. This means that the manufacturing-based hardware development needs to be achieved simultaneously with software development through convergence. The essential element the convergence between hardware and software is OS, for which world's leading companies such as Google and Apple have launched an intense development recognizing the importance of software. Against this backdrop, the status-quo of the software market has been examined for the study of the present report (Korea Evaluation Institute of Industrial Technology: Professional Design Technology Development Project). As a result, the software platform-based Google's android and Apple's iOS are dominant in the global market and late comers are trying to enter the market through various pathways by releasing web-based OS and similar OS to provide a new paradigm to the market. The present study is aimed at finding the way to utilize a smart content by which anyone can be a developer based on OS responding to such as social change, newly defining a smart content to be universally utilized and analyzing the market to deal with a rapid market change. The study method, scope and details are as follows: Literature investigation, Analysis on the app market according to a smart classification system, Trend analysis on the current content market, Identification of five common trends through comparison among the universal definition of smart content, the status-quo of application represented in the app market and content market situation. In conclusion, the smart content market is independent but is expected to develop in the form of a single organic body being connected each other. Therefore, the further classification system and development focus should be made in a way to see the area from multiple perspectives including a social point of view in terms of the existing technology, culture, business and consumers.

• (The)Study of the Eastern Classic
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• no.43
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• pp.7-31
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• 2011

Danjong had suffered the worst misfortune in the history of Lee Dynasty. His throne was usurped by Sejo, his uncle and he was banished to Youngwol where he ended his life for good. Youngwol remembers the last moment of this tragic person clearly through the various traditional stories passed down from the past. In this study, the works assumed to be formed in the contemporary times among Danjong-related stories were targeted. Time of story creation is not known but it could be assumed that the time when heroine of the story was lived may be coincided with the time of traditional story creation, in this story created in a form of experience story. If any objects or elements that may lead to time of traditional story are contained in the story, we may be able to identify the time of traditional story. All of , and were created in the contemporary times. However, these traditional stories are not new at all. If any personal experience story is added on the existing transmitted traditional story, deviation of traditional story near to recreation is taken place. Traditional Danjong story created like this in the contemporary times have some characteristics. First, transmission power of maintaining Danjong story up to the present times was expanded from a nature of misfortune and holiness to general eccentricity. Ability of deity derived from Danjong's grief and grudge is weakened as time goes by and this story is substituted by an amazing things that can be experienced by anybody. Second, at present, Danjong story is transformed to a form of folktale. Danjong story has developed into a myth through deification from a personal legend. This myth is transformed into a folktale everybody can experience in the contemporary times. Third, this story has been recreated in a form of experience story, not a modification. It is said that as the personal experience story is combined with existing traditional stories, a new work of traditional story is created. It could be observed that through contemporary Danjong story, traditional story of historical person could be created in the contemporary times as well and additionally, a process that personal experience story is positioned as a traditional story could be observed. Now is the time to pay attention to various traditional stories being created in the contemporary times like experience stories.

• (The) Research of the performance art and culture
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• no.23
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• pp.37-61
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• 2011

The Noh(能) performance is a traditional drama that represents Japan. The Noh performance was approved in the background of religious thought such as Shintoism(神道), Buddhisms(佛敎), and Syugendo(修驗道). Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. The Noh was approved while receiving a large influence from Shugendo. It can know the feature of the Shugen(修驗) culture in the Middle Ages through the consideration of . Moreover, the appearance of the training of 'Yamabusi(山伏)' can be seen. "Yamabusi" has not been paid to attention up to now in the research of . And, the focus was appropriated to Yamabusi and it researched in this text. Moreover, the problem of "Chigo(稚子)" is thought through . "Chigo culture" was general in the Middle Ages. It is thought that "Chigo culture" is reflected in . is an Noh performance for the boy named 'Wakamatsu' to enter the mountain and to train. It is because mother's sickness was cured. However, the boy gets sick while it is training. It was dropped to the valley according to the law of Shugendo, and it died. However, it revives by the Yamabusi's prayers. 'Taniko' is to drop to the valley and to bury it when the Yamabusi gets sick while lived. The title of the Noh originated in here. has elements of history, content of training of Shugendo, "Filial piety", and the Chigo culture, etc. These are features of the culture in the Middle Ages. It is not only a sad content though this is a content of the cruel remainder. It is because of the revival though waited rapidly at the end. As for the difficulty of training is drawn in the round, and the appearance of the training at that time is understood well. The essence of Shugendo is to train in the mountain. Supernatural power can be obtained through training. Moreover, it was thought that it was able to be newly reborn through training. The leading part of Shugendo is an Yamabusi. The Yamabusi took an active part in not only the mountain but also the village. The Yamabusi is ordinary people's lives and because the relation is deep, an important factor it knows the folk customs of Japan. The word 'Chigo' is not written in . However, a spectator at that time is 'Chigo' Wakamatsu and is already sure to have understood 'Chigo'. Because everyone knew the Chigo culture in the Middle Ages. A religion at that time and knowledge of the society are necessary to understand the play of Nho well.

• The Journal of Korea Institute of Information, Electronics, and Communication Technology
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• v.14 no.5
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• pp.394-402
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• 2021

The entry of an aging society and the extension of human life expectancy, the increasing interest in women's social advancement and men's appearance, and the natural interest in K-culture through media media, while receiving worldwide attention, Focus on K-Bueaty. Recently, looking at the occupation of the medical tourism field, in the case of aesthetic medicine tourism such as molding and dermatology, it has gained popularity not only in Asia such as China and Japan, but also in North America and Europe. The first external confirmation of human aging is the wrinkles on the skin of the face. Clean, wrinkle-free, elastic and healthy skin is a desire of most people. Skin condition and condition such as focused ultrasonic stimulation (HIFU: High Intensity Focused Utrasound) and low frequency, high frequency (RF: Radio Frequency), galvanic therapy using microcurrent, cryotherapy using rapid cooling, etc. Depending on the method of management, the effect of the treatment differs depending on the output and the stimulation site, etc., even in the treatment of medical equipment and beauty equipment using the same mechanism. In this research, in order to develop invasive high-frequency dermatological devices using a large number of beauty medical devices and microneedles of beauty devices, the international standards IEC 60601-2 (standards for individual medical devices) and MFDS (Ministry of) We designed and developed a high-frequency output device in compliance with the high-frequency stimulation standard announced in the Food and Drug Safety (Ministry of Food and Drug Safety). The circuit design consists of an amplifier (AMP: Amplifier) using Class-A Topology and a power supply device using Half-Bridge Topology. As a result of measuring the developed high-frequency output device, an average efficiency of 63.86% was obtained, and the maximum output was measured at 116.7W and 50.67dBm.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.264-279
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• 2023

The 50th anniversary of the UNESCO World Heritage Convention was in 2022. In order to reflect on the present and future of the meaning of World Heritage, this paper examines the development and changes of the UNESCO World Heritage system. After promulgating the convention in 1972, the UNESCO World Heritage system prioritized the protection of heritage sites in the world that were at risk due to armed conflicts and natural disasters to bequeath heritage to the next generation. In addition, the UNESCO World Heritage's emphasis on Outstanding Universal Value represents the particular culture of human beings formed during a certain period of time, and acts as a significant source of soft power in public diplomacy. The UNESCO World Heritage might be perceived as a shared heritage that has not only become a channel to understand various national values, but also an effective medium to convey one of UNESCO's main principles, that is, peacebuilding. However, the UNESCO World Heritage is now at the center of conflicts of heritage interpretation between many stakeholders related to invisible wars, such as cultural wars, memory wars, and history wars as the social, political, and cultural contexts concerning World Heritage have dramatically shifted with the passing of time. Paying attention to such changing contexts, this paper seeks to understand the main developments in UNESCO World Heritage's discourse concerning changes to the World Heritage Operation Guidelines and heritage experts' meetings by dividing its 50-year history into five phases. Next, this paper analyzes the main shifts in keywords related to UNESCO World Heritage through UNESDOC, which is a platform on which all UNESCO publications are available. Finally, this paper discusses three main changes of UNESCO World Heritage: 1) changes in focus in World Heritage inscriptions, 2) changes in perception of World Heritage protection, and 3) changes of view on the role of the stakeholders in World Heritage. It suggests new emerging issues regarding heritage interpretation and ethics, climate change, and human rights.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.

• Korean Journal of Environment and Ecology
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• v.34 no.3
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• pp.259-270
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• 2020

Plants Social Network (PSN) was first used in recent studies to incorporate the plant sociology methods for the understanding of plant society with the social network analysis methods that have recently attracted attention in the social science and visualize and analyze a PSN. The process of construction and analysis on PSN proceeds in the order of setting up the survey area, investigating the appearance plants species on plots of 100㎡, analyzing the interspecific association, building the sociogram, and analyzing the network structure and centrality. This study established a PSN by investigating the appearance species after installing 708 plots to include various dominant vegetational physiognomies in Busan Metropolitan City, where coastal and inland vegetation could be observed simultaneously. The survey found a total of 195 species, including 42 species of evergreen, 151 species of deciduous trees, and 2 species of semi-evergreen trees. The interspecies binding analysis was performed with the focus on the total number of species. It showed the number of friendly species in the order of Eurya japonica (47 species), Trachelospermum asiaticum (46 species), Linder glauca (44 species), Sorbus alnifolia (44 species), and Ligustrum japonicum (41 species). Based on it, we generated a sociogram using Gephi 0.9.2 program. The sociogram was divided into groups that appeared mostly on the coast and those that did not, reflecting the geographical distribution characteristics of forest vegetation in Busan. The analysis of the network structured showed 1,709 links and an average of 17.5 species having interspecies binding with a species. The density was 0.09, the diameter was 5, and the average path distance was 2.268. We concluded that various PSNs should be established in the future for precise comparative analysis of network characteristics in the social science field. In the PSN of Busan Metropolitan City, Eurya japonica, Linder glauca, Ligustrum japonicum, and Trachelospermum asiaticum showed high centrality.