• Asia Marketing Journal
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• v.14 no.2
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• pp.177-207
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• 2012

Today's consumers perceive consumption as a representation of themselves. It is not simply an act that fulfills a consumer's physical and practical needs. Even in terms of life quality, consumers increasingly want to achieve an emotional and sensible experience through consumption. Consumers now make decisions based on their need to express their position in relation to other people, pursue emotional satisfaction, and try to improve the quality of life. Culture-art products that meet such internal and external demands of consumers have made significant improvements in both quantity and quality, because of the social interest and policy support. The recognition of personal and social values of culture and arts has brought about interest in and need for culture-art products. Businesses have agilely embraced such change and actively implemented various marketing strategies utilizing culture and arts. For example, businesses began to sponsor artists who produce culture-art products while building facilities for cultural and art performances or exhibitions. Businesses have also provided performances and exhibitions free-of-charge or at affordable prices. As a result, the supply in the market has started to exceed its demand as is often the case in many of other markets. However, such imbalance has occurred not because of over-supply but because of a lack of demand. Given these circumstances, the government and culture and art related organizations, which had mainly concentrated on the supply side, started to recognize the importance of creating personal and social values in culture and arts. As a result, the government and various organizations are now creating various strategies that include policy measures to achieve their new found goal. Unfortunately however, such efforts are not meeting the expectations. Focusing on above-mentioned circumstances and problems, this study aims to find measures to create demand for culture-art products in the internal conditions of those who consume culture-art products. In other words, given that the demand for culture-art products has not increased despite all external conditions to encourage consumption, this study aims to find the reasons in consumers' value judgment on culture-art products. Though there were recent studies on culture-art products that applied consumer behavior on marketing theories, most of them focused on peripheral aspects such as people's motivation for or satisfaction from watching culture-art events. Hence, there is a need to understand what kind of value consumers perceive from culture-art products and how such value cognition leads to consumption in a comprehensive manner. This study acts as follow-up to a separate study entitled "Qualitative Study about Value Cognition and Benefits of Consumer on Culture-Art Products". The current study aims to extend practical implications that enhance the effectiveness of marketing strategies among the producing and policy agencies in the industry. The purpose of this study is to investigate dimensions of value cognition, benefits and attributes of culture-art products, and identify the effects of consumer value cognition on benefits and attributes. The questionnaire was developed based on the conceptual structure of qualitative research and previous researches. It was composed of value cognition, benefits, attributes of culture-art products and demographic variables. This survey was conducted on-line and off-line among a total of 662 persons ranging from their teens to their 50's who were living in Seoul, Gyeonggi-do, various metropolitan cities, and small and medium-sized cities. The data collected was analyzed by factor analysis and path analysis using SPSS WIN 18.0 and AMOS 16.0. This empirical study found that the dimensions of value cognition of culture-art products were categorized into personal goods, aesthetic goods and public property. This shows that the consumers perceive culture-art products as products that are worthy enough to pay the costs not just for personal benefits but also for their social values. Also the formation of value cognition for culture-art products requires special conditions unlike that for physical consumer goods and services, which simply require marketing stimuli. The dimensions of benefits pursued by consuming culture-art products were found to be composed of four types - pursuit of aesthetic benefits, pursuit of actual benefits, pursuit of emotional benefits, and pursuit of conspicuous character. This result implies that people consume culture-art products not just to pursue pleasure from emotional and intelligent satisfaction as well as social relations, but also to seek the needs and benefits embodied at a social level. The dimensions of attributes of culture-art products had seven different factors, - environmental, price, evaluation, people, artwork, composition, and personal relations - which is plentiful. This is because the attributes of culture-art products are very complicated compared to other consumer goods or services. Since culture-art products include not just cultural or artistic works but also all physical, human, environmental, and systemic elements of the products in a comprehensive manner, consumers perceive everything they experience in the process of consuming culture-art products as part of the products. The dimensions of value cognition was found to affect attributes of the products, mostly using pursued benefits as a mediating factors. This result is consistent with the result of qualitative research, and proves that applying the means-end chain theory in the reverse direction is reasonable. The result can be interpreted that consumers' value cognitions for culture-art products turns into actual benefits leading to consumers' decisions. Furthermore, this result reveals that when consumers choose culture-art products, they take into account the attributes of culture-art products depending on the benefits they pursue. These results confirm that despite their conceptual and abstract attributes, culture-art products have values that contribute to actual benefits for individual consumers and society. Hence, value cognition generates benefits to be pursued and this in turn affects the consumers' choices of attributes on products. Based on the conceptual structure of consumers' value cognitions on culture-art products and its dimensions, it is possible to find detailed methods to provide opportunities for education and training to form and reinforce positive value cognition on culture-art products. And through those methods, it will be possible to develop attributes of culture-art products according to the dimensions of pursued benefits, and allow conceptual products become the subject to valuable consumption in real life. These results provide theoretical understanding of consumer behavior in culture marketing and useful information to culture-art producers, companies that use culture and art, and government agencies that use culture-art as a mean to improve the public perception of quality of life. As a follow up on this study, there should be experimental studies that can develop criteria visualizing the demands of consumers who purchase culture-art products and identify their detailed attributes. Studies that compare characteristics of different areas within the culture-art product category and in-depth studies on a specific area or genre will also be needed. In order to develop marketing strategies for culture-art products, studies on the formation and reinforcement of positive value cognition on culture-art products and education for the development of consumer demand as well as on the development and differentiation of attributes of culture-art products depending on types of consumer groups should also follow.

• Archives of design research
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• v.18 no.1 s.59
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• pp.91-104
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• 2005

In the past, the design education focused on the technique and skill to satisfy the production and consumption activities of a corporation based on beauty and practicality in the industrial age. Now, it's time to switchover to a life-quality enhancing education by harmonizing and meeting the public's physical and mental needs because design education is a character education which enhances the quality of life by uplifting people's aesthetic sense. This paper has emphasized on the importance of public education of design through the theoretical investigation on social environmental changes caused by the emergence of information society,,education problems, public education, and the necessity of design education. The reason why this study should be done has been suggested by investigating the necessity of this research and bringing up the issue. Furthermore, the current status and problems of public education on design have been analyzed. Then, based on the result, the development direction of design education has been suggested. This study can be concluded as follows: First, the design education should change from its vertical structure to a horizontal one. It should be widely spread to the public, getting off from its privatization for a certain group. Second, designers and the public should correct their way of thinking about design. The ordinary people as well as the designers should cultivate their capability to find and take care of design related issues in their everyday lives. Third, all people should be the subject of design education for the public. As a part of cultural education on the public's aesthetic sense, design education should be reborn as a field of study in which a sound public culture can be developed by the integration of human life and culture, exceeding the limit of school curriculum.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• Archives of design research
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• v.2 no.1
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• pp.63-97
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• 1989

There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the $$\mu$ti-classified function is delivered to the varieties of form. All of these are depended upon changeable situations. That is precisely the situations of "situation de'||'&'||'not;sign", the concept of moving from the design of things to the design of the circumstances in which things are used. From this point of view, the core of form and function is depended upon how the designer can manage it efficiently in given situations. That is to say that the creativity designer plays an important role to fulfill the purpose. Generally speaking, creativity is the organization of a concept in response to a human need-a solution that is both satisfying and innovative. In order to meet human needs, creative design activities require a special intuitive insight which is set into motion by purposeful imagination. Therefore, creativity is the most essential quality of every designer. In addition, designers share with other creative people a compulsive ingenuity and a passion for imaginative solutions which will meet their criteria for excellence. Ultimately, it is said that the form and function is the matter which belongs to the desire of creative designers who constantly try to bring new thing into being to create new things. In accordance with that the main puppose of this thesis is to catch every meaning of the form and function and to close analyze their relations for the promotion of understanding and devising practical application to gradual progression in design. The thesis is composed of four parts: Introduction, Form, Function and Conclusion. Introduction, the purpose and background of the research are presented. In Chapter I, orgin of form, perception of form, and classification of form are studied. In Chapter II, generation of function, development of function, and diversification of function are considered. Conclusion, some concluding words are mentioned.ioned.

• Journal of Bio-Environment Control
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• v.9 no.4
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• pp.193-200
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• 2000

The object of this study is to investigate the quality change of sweet basil grown with selenium(Se) in hydroponic culture. Sweet basil was cultured with 1 fold herb nutrient solution as suggested by European vegetable R & D Center in Belgium. Before three weeks harvest, sodium selenate(N $a_2$Se $O_4$) was supplied to 2 and 4 mg. $L^{-1}$ in the nutrient solution. Sweet basil was stored at 1$0^{\circ}C$ using 40um ceramic film and PET (polyethylene terephalate) for 15 days in modified atmosphere(MA) storage condition. The weight loss of sweet basil was higher in non-treatment compared to Se treatments in both of two films but it was decreased over 5% in PET treatment. Se concentrations in leaf tissues increased in the response to the treated levels of N $a_2$Se $O_4$concentrations, and this tendency was appeared similar results after storage. There was no significant effect of packing materials on volatilization of Se in sweet basil. The total chlorophyll and essential oil content was increased with increasing N $a_2$Se $O_4$concentration in nutrient solution. The amount of volatilization flavor was not higher at N $a_2$Se $O_4$4mg. $L^{-1}$ treatment compare to others during storage. Se content was 112.73 ug. $g^{-1}$ dry mass at 2 mg. $L^{-1}$ treatment before storage and the decrease of Se content was observed by 50% at 15 days after storage. The condition, which N $a_2$Se $O_4$2mg. $L^{-1}$$^{plement}$ in nutrient solution during growth stage and stored with 40um ceramic film on 1$0^{\circ}C$are acceptable for maintaining of sweet basil quality. Moreover it can be a proper Se concentration for human health. Overall, Se treatment in nutrient solution has effect on promoting and maintaining quality of herb during storage life. Also, there was not significant change of essential oil compounds by volatilization of Se.mpounds by volatilization of Se.

• Journal of Environmental Policy
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• v.7 no.3
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• pp.89-120
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• 2008

With petroleum being a major source of energy in Korea, the quantity of petroleum transported via ocean routes is on its way up due to increased consumption. Due to the increase, more than 300 cases of pollution caused by petroleum occur annually. Moreover, the number of oil-spill accidents is also on the rise. Causes of such accidents, not including the disposal of waste oil on purpose, turn out to be human error during navigation or defects in the vessels, showing that most accidents are caused by humans. Therefore, to prevent future oil spills, it is imperative that navigation efficiency be enhanced by improving the quality of navigators and replacing old vessels with newer ones. Nevertheless, such improvements cannot occur overnight, so long- and mid-term efforts should be made to achieve it institutionally. As large-scale oil-spill accidents can happen at anytime along the coastal waters of Korea, it is necessary to set-up institutional devices which go beyond the compensation limit of 92FC. The current special law regarding this issue has its limits in that it prescribes compensation be supplemented solely by national taxes. Therefore, the setting-up of a new 'national fund' is recommended for consideration rather than to subscribe to the '2003 Convention for the Supplementary Fund'. It is strongly suggested that a National fund be created from fees collected from oil companies based on the risks involved in oil transportation and according to the profiteers pay principle. In addition, a public fund should be created to handle general environmental damage, such as the large-scale destruction of the ecosystem, which is distinct from the economic damage that harms the local people. The posterior responses to the large-scale oil spill have always been unsatisfactory because of the symbolic nature of the disasters included in such accidents. Oil-spills can be prevented in advance, because they are caused by human beings. But once they occur, they inflict long-term damage to both human life and the natural ecosystem. Therefore, the best response to future oil-spills is to work to prevent them.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.42-53
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• 2023

This paper explores the recent development of environmental aesthetics and critically examines the main agendas, claims, issues, and implications of everyday aesthetics, which is emerging as an important branch of environmental aesthetics. Environmental aesthetics began in the context of cultural change and environmentalism in the 1960s and expanded in the second half of the 20th century with a solid theoretical foundation. At the beginning of the 21st century, it entered a process of diversification of objects and subjects. Having reached academic maturity, environmental aesthetics has expanded into theoretical territory considering the urban environment and the human environment, providing practical coordinates as a discourse for planning and designing urban environments and landscapes. The most notable achievement of environmental aesthetics since the mid-2000s is the establishment of 'everyday aesthetics'. Yuriko Saito, who is leading the research on everyday aesthetics, expanded the objects and scope of aesthetic theory to everyday objects, events, activities, and environments. She excavates the microscopic and sensory aspects of everyday life, which have been overlooked by conventional art-centered aesthetics, through the lens of aesthetics. She reinterprets various layers of phenomena in contemporary urban landscapes and analyzes how the 'power of the aesthetic' hidden in everyday life profoundly affects the quality of life and the state of the world. Saito examines the appreciation of the distinctive characteristics and ambiance inherent in everyday objects and environments and proposes a 'moral-aesthetic judgment' to alert citizens to the environmental, social, and political consequences of everyday aesthetic appreciation and response. This paper identifies the issues and implications of everyday aesthetics as first, the expansion of aesthetics and the ambiguous everyday, second, the moral-aesthetic judgment and the aesthetics of care, and third, urban regeneration landscapes and aesthetic literacy. In particular, the moral virtues of everyday aesthetics that Saito proposes, such as care, thoughtfulness, sensitivity, and respect, provide a critical reference for the practice of contemporary urban regeneration landscapes. The 'aesthetic literacy' is a key concept demonstrating why an environmental aesthetics perspective is necessary to interpret everyday urban environments and landscapes.

• The Journal of Korean Philosophical History
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• no.52
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• pp.365-392
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• 2017

In the present life of us, the challenges, we face essentially, relate to human quality and personality. It is a fact that can be easily understood through a situation of present education and the law. The research in the eastern philosophy of the 'personality' has been handled in regard to Yangmingxue, but a practical principle of education can be also found in an aspect of Zhuzixue indeed. That is Zhu'zi's study of 'gaining knowledge by the study of things' which was criticized by Yangming. This paper is to examine that with 'gaining knowledge by the study of things', which is known as study of 'zhi', we can find the practical principle which is applied to the education of personality. This research is to examine the relationship between 'Zundexing(尊德性)' and 'Daowenxue(道問學)' which are characters of cultivating study of Zhuzixue and the characteristics of the study of Zhu'zi by examining 'gaining knowledge by the study of things', the main method of 'Daowenzue'. This study, then, to show the meaning of study of 'gaining knowledge by the study of things' exploring prncan appropriate education of personality in this time drawing practical principle which can be applied to education of personality through the process and principle of 'taking the objective principles(格物)' and 'achieving morl self-Congnition(致知)'. Then, through the process and principles of 'taking the objective principles' and 'achieving morl self-Congnition ', this paper explore factors of the education of personality and the principles that can be applied in the education field, so as to reveal the significance of studying 'gaining knowledge by the study of things' in terms of the education of personality for this age.

• Journal of Technologic Dentistry
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• v.30 no.1
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• pp.83-96
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• 2008

This study aims to analyze the major factors in their working conditions affecting the enlargement of leisure activities of dental technicians. We also present a need for dental technicians to assign more time many different kinds of leisure activities for their quality life. To this end, we examined the status and the characteristics of dental technicians' leisure activities among the randomly selected subjects who are working in the area of Seoul, Gyonggido, and Gangwon-do through the analysis of the 311 sheets of self-administered questionnaires. The conclusions from this analysis are as follows; 1. On weekdays, non participants in leisure activities were found to be 64.0%, and in the case of weekends, the participants were reached to 70.7%. Those who enjoy any leisure activities in either of weekdays and weekends were 34.1%, 27.3% of the dental technicians did not have any leisure activities. Therefore, statistical significance was shown in the participations of leisure activities between weekdays and weekends. 2. Of the types of leisure activities in both weekdays and weekends, sports activities were ranked at the top 33.4%, 29.6% respectively, which is followed by going to the cinema/theatre/exhibitions, etc 21.9%, 26.0%, games/entertainment 14.5%, 14.8%, hobbies/cultural activities 14.1%, 12.5%, sightseeing/picnic 6.4%, 7.4%. 3. Of the differences in the characteristics of leisure activities, the types of leisure activities between weekdays and weekends showed difference in gender, company and information regarding leisure activities in age, company and the place of leisure activities, and leisure information in the marital status, career and monthly income in company, company and leisure information in the job position, which is statistically significant (p<.001). However, no statistical significance was found among the other general items of the characteristics of leisure activities. Considering only works on weekdays policy is currently permeating into almost every business sector, dental business owners or managers are advised to consider more effective time management or human resources management, such as keeping reasonable manufacturing time through cooperations with the dentists, regularity of working hours, incentive system, introduction of credible over time payment. Which will provide their staff with more times and opportunities to enjoy their leisure activities. Additionally, the concrete and feasible ways of motivating and activating the leisure activities of dental technicians are in need of further researches and studies.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.411-424
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• 2019

The purpose of this study is to explore the feasible policy directions for sports welfare that can not only improve the standard of living through health but also ensure a happy and enjoyable life for the people of Gangwon Province. For this purpose, I have conducted studies such as the analysis on the sports class voucher project being implemented by the South Korean government and the case analysis in sports welfare, and present policy directions as follows. First of all, it is about upgrading the sports class voucher project. And as its implementation plans, I suggest ① increased publicity, ② the earmarking of the province's own budget for the sports class voucher project, ③ the establishment of a system for cooperation for work implementation between the related organizations and their staff in charge with a view to activating the sports class voucher project, and ④ the upgraded services for the sports class voucher project and the upgraded access to the life cycle-based universal welfare. Second, it is about using public sports facilities and developing various programs. I suggest the active utilization of the public sports facilities that enable people to learn the skills for such sports disciplines as baseball, badminton, ice sports, and golf and the development and distribution of distinctive educational programs for dance for media entertainment shows for female youths, climbing, cheer leading, fencing, surfing and horseback riding. Third, it is about nurturing the human resources and networking. For this, I suggest the creation of 'Sports Welfare Specialist Training Program' and the training of the college students majoring in sports science with the aim of creating a number of jobs. Fourth, it is about refurbishing the system and establishing the support system. I suggest the dismantling of the partitions in the welfare policy related to sports activities and the formation of (tentatively named) 'Gangwon Province Sports Welfare Implementation Committee', and the creation of (tentatively named) 'Sports Welfare Project Support Team' in Health, Welfare & Women's Affairs Bureau or Culture, Tourism and Sports Bureau in the short term and then its long-term expansion into (tentatively named) 'Gangwon Province Sports Welfare Support Center' in responding to the needs that reflect the provincial demographics, with a view to establishing a single lineup for the administrative support system. Furthermore, as budget and manpower are needed to realize customized sports welfare that suits the characteristics of the province and in which all the provincial residents can collect benefits, I suggest that the province provide the legal basis through creating 'Ordinance Promoting Sports Welfare in Gangwon Province' and pushing forward with (tentatively named) 'Gangwon Province Sports Welfare Competition' as what revises the sports class voucher project for the purpose of broadening the basis for sports welfare promotion.