• Journal of architectural history
• /
• v.26 no.5
• /
• pp.7-18
• /
• 2017

The 1960s in Britain was the period of rapid economic and social change. Under this circumstance, the visionary architect Cedric Price designed the Fun Palace, of which idea came from the theatre producer, Joan Littlewood. They hoped this place to be an improvisational learning space, so Price proposed the building as 'kit of parts' which can respond to programmatic indeterminacy. Cybernetics was introduced to control this flexibility dramatically changed the character of the project from 'theatre of people' to 'interactive machine'. That resulted in the change of the status of user from subjective human beings to abstract data in the cybernetic algorithm as well, and led the project to a completely opposite direction from that Price intended. After Fun Palace, cybernetics technology could still be found in his other projects, and it can be assumed that this was because the algorithmic system of cybernetics were on the same line of thought of Price's idea - anti-building or 'kit of parts'. The effects of cybernetics varied in projects; Similar negative effect in Fun Palace can be found in Generator project, but on the other hand, in Potteries Thinkbelt project, cybernetics showed a positive aspect by contribution to the development of project on the formal analogy of algorithmic network.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.513-557
• /
• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.