• Journal of Communication Design
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• v.55
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• pp.240-249
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• 2016

This study focused on cases about user experience using digital media as a marketing. The recent convergence of various types of media is resulting in new types of content. In a situation where approaching consumers through digital and virtual means is no longer an alternative or an option but a necessity, customers must be influenced and stimulated using various types of digital media. Because modern consumers prefer to participate actively rather than to be passively exposed to information, there is a need to maximize and optimize the consumer's experience using digital media. In this research, consumer experiences that utilized digital media were examined, and these case studies were analyzed from an experiential marketing perspective. How the 5 different types of Experiential Marketing proposed by Bernd Schmitt and Digital medias were combined in the digital marketing campaigns was examined. The case studies analyzed in this research were chosen out of widely popular digital marketing campaigns ran by beauty brands that used various experimental marketing types, such as 'Make-up Genius' of L'Or?al, 'Google Glass Tutorials' of Yves Saint Laurent and 'Digital Runway Bar' of The Burberry Beauty Box. This study classified that case samples into paid media, earned media and owned media based on sense, feel, think, act and relate that are the strategic experiential modules of Bernd Schmitt. This study could be confirmed various customer experience as a sense, feel, think, act and relate through that cases using digital media technology and marketing element of digital media. Through the process of examining which digital media types each marketing campaign utilized and how these types of digital marketing were combined, this research is significant in that it helps for the understanding of the current state of digital marketing and in that it can serve as the foundation for future research of efficient digital marketing.

• Journal of the Korean Society of Earth Science Education
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• v.15 no.2
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• pp.235-248
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• 2022

With the changes in the future educational environment, such as the rapid decline of the school-age population and the expansion of students' choice of curriculum, changes are also required in PCK, the expertise of science teachers. In other words, the categories constituting the existing 'consensus-PCK' and the characteristics of 'science PCK' are not fixed, so more categories and characteristics can be added. The purpose of this study is to explore the potential area of science PCK required to cope with changes in the future educational environment in the form of 'Family Resemblance Science PCK (Family Resemblance-PCK, hereafter)' through Wittgenstein's family resemblance approach. For this purpose, in-depth interviews were conducted with three focus groups. In the focus group in-depth interview, participants discussed how the science PCK required for science teachers in future schools in 2030-2045 will change due to changes in the future society and educational environment. Qualitative analysis was performed based on the in-depth interview, and semantic network analysis was performed on the in-depth interview text to analyze the characteristics of 'Family Resemblance-PCK' differentiated from the existing 'consensus-PCK'. In results, the characteristics of Family Resemblance-PCK, which are newly requested along with changes in role expectations of science teachers, were examined by PCK area. As a result of semantic network analysis of Family Resemblance-PCK, it was found that Family Resemblance-PCK expands its boundaries from the existing consensus-PCK, which is the starting point, and new PCK elements were added. Looking at the aspects of Family Resemblance-PCK, [AI-Convergence Knowledge-Contents-Digital], [Community-Network-Human Resources-Relationships], [Technology-Exploration-Virtual Reality-Research], [Self-Directed Learning-Collaboration-Community], etc., form a distinct network cluster, and it is expected that future science teacher expertise will be formed and strengthened around these PCK areas. Based on the research results, changes in the professionalism of science teachers in future schools and countermeasures were proposed as a conclusion.

• International Commerce and Information Review
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• v.10 no.4
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• pp.457-491
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• 2008

As stage equipment export markets along with special lighting service lack the attraction for already globally established businesses, such markets can be viewed as an advantageous opportunity for SMEs as in general. In reality, global businesses tend to focus on large construction projects and this indicates relatively less substantial markets such as stage equipment and special lighting service export are more suitable for SME businesses. However, possible problems may be recognized as following; doubtful capabilities by such businesses to join in the vast and competitive global market and pursue manufacturing and service based export. This point is also supported by the fact that such in general SME businesses have substantially less experience in exporting products and services abroad. Realizing the distinctive features of the Korean economy, it is unarguable that every sector and area of global market must be regarded and monitored closely. Hence, it can be argued that there is an imminent need for establishment of supportive institution to assist export process of combination of stage equipments and special lighting service. This study emphasizes the need to improve export process of stage equipments, special lighting services as well as other related products and services which have been focused in domestic market only until now. Further, it also analyzed the potential prospect of such direction reconciling current crisis our manufacturing industry is facing. Even though it maybe regarded as one of the niche market for export of Korea in the short term view, stage equipment and special lighting service industry may rapidly grow as the global cultural industries have grown along with the increase of national income earnings overall. Due to such advantageous features, it can be expected that such industries will show strong growth in the near future. After analyzing the fact that Korea's plants (eg. powerplants) export sector is at its boom, there is a need to transform stage equipment and special lighting service export market into a primary market from a secondary(niche) market for SMEs. This study is viewed from the Korean economic and export sector aspect in the aim of seeking a solution to conquest our realistic limit in our export sector by developing a suitable export model. There have been cases of very few attempts to expand abroad by SMEs who have failed miserably due to their failure to adapt to foreign culture, practice and languages as well as substantial lack in experience in export marketing. Despite this, neglecting our manufacturing industry as it is which is showing its limit and problems is out of option therefore, it is imminent that we come up with an effective measure to address this problem and service export can be suggested as one of them. This study reveals manufacturing-service export model of stage equipment and special lighting service and its related areas is recognized as a field with a very strong future and furthermore, it is expected to bring synergy effects in manufacturing and services sector as well. Further, the operation strategy contains combination, composition and fusion(convergence) of manufacturing and service sectors which could derive various of export products which displays greater success probability or this export model. The outcome of this research is expected to become a useful source for enterprises related to such industry which are seeking a possible global expansion. Furthermore, it is also expected to become a catalyst which fastens the process of global expansion and not only that, we are firmly assured that this study will become an opportunity to improve our current policies and institutions related to this area's export market.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.217-253
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• 2020

This study analyzes the principles of the 'Earthly Paradise' (仙境, the realm of immortals), 'Virtuous Concordance of Yin and Yang' (陰陽合德), and the 'Reordering Works of Heaven and Earth' (天地公事) while combining them with Joseon art. Therefore, this study aims to discover the context wherein the concept of Taiji in 'Daesoon Truth,' deeply penetrates into Joseon art. Doing so reveals how 'Daesoon Thought' is embedded in the lives and customs of the Korean people. In addition, this study follows a review of the sentiments and intellectual traditions of the Korean people based on 'Daesoon Thought' and creative works. Moreover, 'Daesoon Thought' brings all of this to the forefront in academics and art at the cosmological level. The purpose of this research is to vividly reveal the core of 'Daesoon Thought' as a visual image. Through this, the combination of 'Daesoon Thought' and Joseon art will secure both data and reality at the same time. As part of this, this study deals with the world of 'Daesoon Thought' as a cosmological Taiji principle. This concept is revealed in Joseon art, which is analyzed and examined from the viewpoint of art philosophy. First, as a way to make use of 'Daesoon Thought,' 'Daesoon Truth' was developed and directly applied to Joseon art. In this way, reflections on Korean life within 'Daesoon Thought' can be revealed. In this regard, the selection of Joseon art used in this study highlights creative works that have been deeply ingrained into people's lives. For example, as 'Daesoon Thought' appears to focus on the genre painting, folk painting, and landscape painting of the Joseon Dynasty, attention is given to verifying these cases. This study analyzes 'Daesoon Thought,' which borrows from Joseon art, from the perspective of art philosophy. Accordingly, attempts are made to find examples of the 'Virtuous Concordance of Yin and Yang' and Tai-Ji in Joseon art which became a basis by which 'Daesoon Thought' was communicated to people. In addition, appreciating 'Daesoon Thought' in Joseon art is an opportunity to vividly examine not only the Joseon art style but also the life, consciousness, and mental world of the Korean people. As part of this, Chapter 2 made several findings related to the formation of 'Daesoon Thought.' In Chapter 3, the structures of the ideas of 'Earthly Paradise' and 'Virtuous Concordance of Yin and Yang' were likewise found to have support. And 'The Reordering Works of Heaven and Earth' and Tai-Ji were found in depictions of metaphysical laws. To this end, the laws of 'The Reordering Works of Heaven and Earth' and the structure of Tai-Ji were combined. In chapter 4, we analyzed the 'Daesoon Thought' in the life and work of the Korean people at the level of the convergence of 'Daeesoon Thought' and Joseon art. The analysis of works provides a glimpse into the precise identity of 'Daesoon Thought' as observable in Joseon art, as doing so is useful for generating empirical data. For example, works such as Tai-Jido, Ssanggeum Daemu, Jusachaebujeokdo, Hwajogi Myeonghwabundo, and Gyeongdodo are objects that inspired descriptions of 'Earthly Paradise', 'Virtuous Concordance of Yin and Yang,' and 'The Reordering Works of Heaven and Earth.' As a result, Tai-Ji which appears in 'Daesoon Thought', proved the status of people in Joseon art. Given all of these statements, the Tai-Ji idea pursued by Daesoon Thought is a providence that follows change as all things are mutually created. In other words, it was derived that Tai-Ji ideology sits profoundly in the lives of the Korean people and responds mutually to the providence that converges with 'Mutual Beneficence.'

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.