• Journal of Gifted/Talented Education
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• v.22 no.1
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• pp.87-115
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• 2012

This study is about the development of an identification model for artistically gifted students from low income and/or multi-cultural families. Given that parental support at early ages is crucial for talent development, students from low income families are often dismissed in recognizing their artistic giftedness. Based on a comprehensive literature review and consultations with experts in art, the SMC model was developed to identify disadvantaged gifted students in the areas of music, visual arts, and ballet. The model consists of three steps of identification, such as review of documents and teacher recommendations, evaluations of artistic giftedness, and a summative evaluation, and involves multiple criteria for identifying giftedness in both domain general and domain specific arts. SMC is promising in discovering many unrecognized disadvantaged children of artistic potential, thereby using various quantitative and qualitative measures. Yet, issues of validity and reliability of SMC need to be substantiated by subsequent theoretical and empirical studies.

• Journal of the Korean Society of Costume
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• v.61 no.5
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• pp.48-63
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• 2011

Digital makeup(DM), depending upon computer graphic softwares, is applied to various fields, e.g. character works in movie and game industries and visual printouts in printing works. Focused on makeup field, DM is extremely conducive to developing, scientizing and informationalizing makeup patterns. Despite of unlimited potential of DM of which market size has been growing day by day, its practical use by domestic makeup experts and educators is much less active than expected as far, due to the lack of knowledge accumulation. The purpose of this study is to suggest some theoretical frameworks to generalize DM techniques and analyze two cases using the frames therefore support academicians' recent efforts to theorize DM techniques. The study 1) defines and categorizes the concepts of DM and DFX(digital special effect); 2) reviews the literature relevant to DM and generalizes the types and methods of DM techniques; 3) applies general frames to analyzing two movie cases, famous for their DM effects; 4) then suggests, based upon analytical results, some efficient ways for makeup experts to use DM techniques in practice. This study contributes to providing the theoretical grounds to conceptualize DM thus broadening makeup artists' interests in DM and awakening the scholarly concerns in cultural technology including DM.

• Trans-
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• v.10
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• pp.15-29
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• 2021

After the coronavirus pandemic, quarantine or social distancing was required for public health and almost all international exchanges were restricted. Those changes affected huge peoples lifestyle including a way of behaving, purchase and even old habits seemed unable to change. The art market also faced many changes. Art fairs are the primary sectors in the art market but restrictions on gathering and exchanges between countries have primarily affected the size and the type of event. Online platforms are rising, art fairs opened online viewing rooms on the internet instead of booths in the convention center. Even galleries opened their own viewing rooms or renewed online pages to promote artworks and communicate with customers. In this paper, we will examine the effects of Corona on the art market and will seek a way to react to those changes and challenges.

• Trans-
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• v.13
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• pp.1-16
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• 2022

Recently, the method of contacting and purchasing NFT art has been popularly evolving, and various prospects and predictions for NFT art have emerged. The discussion of NFT art is mainly a hot topic in terms of market size, profit, and sustainability. As the transition to digital accelerated after COVID-19, almost all genres of culture and arts faced a forced transition with the topic of combining digital and technology, but in terms of profitability, it was generally difficult to guarantee positive continuity. On the other hand, the combination of art and blockchain, and the new distribution method called NFT, attracted a lot of attention by causing fundamental changes that lead to technological transformation, continuity through profit creation, and even genre expansion of visual art. The discourse on NFT and the art market is a recent phenomenon and is being discussed focusing on statistics and numerical reports through data from newspapers and art-related research institutes rather than academic analysis or research. However, discussions related to NFT art should be considered in various aspects, such as the incorporation of technology and art, changes in distribution methods, and changes in creative methods according to media changes, not just short stories of phenomena such as high prices and winning bids. In this paper, we would like to examine the impact of changes in creators and distribution methods.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.2
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• pp.279-292
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• 2018

Unlike the global art market which experienced rapid recovery from the impacts of the Global Financial Crisis in 2008, the Korean art market has not yet fully recovered. The gallery-oriented distribution system, vulnerable primary art market functions, and the market structure centered on a small number of collectors make it difficult for young and medium artists to enter the market and, as a result, deepen the economic polarization of artists. In addition, the high price of art works limits market participation by restricting the general public. This study began with the idea that the interest of the public in the art market as well as their participation in the market are urgent. To this end, we noted that public awareness of art transactions can be a starting point for improving the constitution of the fragile art market, focusing on the 'Artist-centered Art Fair' rather than existing art fairs. To examine the contribution of such an art fair to the popularization of the art market, we analyzed the case of the 'Visual Artist Market (VAM)' project of the Korea Arts Management Service. Results found that the 'Artist-centered Art Fair' focuses on providing opportunities for market entry to young and medium artists rather than on the interests of distributors, and promotes the popularization of the art market by promoting low-priced works to the general public. Also, the 'Artist-centered Art Fair' seems to play a primary role in the public sector to foster solid groups of artists as well as to establish healty distribution networks of Korean Art market. However, in the long run, it is necessary to promote sustainable development of the 'Artist-centered Art Fair' through indirect support, such as the provision of a publicity platform or consumer finance support, rather than direct support.

• Journal of the Korea Convergence Society
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• v.12 no.3
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• pp.297-304
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• 2021

This study aims not only to access the visual thought-oriented approach that has been implemented in established art therapy and education but also to integrate language education and therapeutic approach to support the development of school-age children. Thus, text mining technique was applied to search for areas where different areas of language and art can be integrated. This research was conducted in accordance with the procedure of basic research, preliminary DB construction, text screening, DB pre-processing and confirmation, stop-words removing, text mining analysis and the deduction about the convergent areas. These results demonstrated that this study draws convergence areas related to regional, communication, and learning functions, areas related to problem solving and sensory organs, areas related to art and intelligence, areas related to information and communication, areas related to home and disability, topics, conceptualization, peer-related areas, integration, reorganization, attitudes. In conclusion, this study is meaningful in that it established a framework for designing an activity-centered convergence program of art and language in the future and attempted a holistic approach to support child development.

• Korean Association of Arts Management
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• no.51
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• pp.5-34
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• 2019

This study is a qualitative study conducted to identify environmental factors that impede emerging artists' ongoing creative activities, focusing on the local cultural ecosystem that they are part of. By doing so, we tried to understand the dynamics between key stake holders in the ecosystem that these young artists interact with and how they build and perceive their own, local cultural environment. The central research question of this study is: what factors impede the continuous creative activities of young artists and what causes them to leave local art scenes? The research was conducted thoroughly on the basis of emerging artists' experience and perspectives and applied to Creative Sector Holistic Model for analysis. The data of this research were collected based on two national-funding projects to support young artists from 2016 to 2018. The main research method of this study was interviews: official and casual interviews were executed with 29 young artists aged 20-34 who work in the fields of painting, literature, sculpture, video, korean traditional music, visual design and crafts. For the analysis of the data, the Creative Sector Holistic Model(Wyszomirski, 2008), which had applied the ecological logic to the creative industries, was applied. The result of this study shows that economic difficulties were not the only hindering factor in their sustainable art-making process. Various impeding factors derived from the local cultural ecosystem have been identified within the Holistic Model, demonstrating that these factors are all intertwined and connected. Thus, analyzing and understanding one's local cultural ecosystem can provide keys to long-term and lasting impacts when a local authorities wish to support young artists for the future of local cultural environment.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Korean journal of communication and information
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• v.47
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• pp.74-95
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• 2009

With the digital technical development, the German public broadcasting system has enlarged their online services with the rapid growth of internet population and digital channels. In the debate on online services of public broadcasting systems the major issue is that broadcasting fees finance their broadcast, though they are intended to support mass communication only. Therefore the German private broadcasting claimed to the European Union, that broadcasting fee of the German public had to be regarded as state aid concerning fair competition. Due to the autonomy of the German public broadcasting systems, guaranteed by the German Constitutional Law, a public value test was proposed to the EU and was accepted domestically. The cut in rise of broadcasting fees was stated unconstitutional by the German Constitional Court in 2007, when online services were consolidated as the third media amongst TV and radio with regard to basic provision. This with the public value tests of the public and the accept of the EU's Audio Visual Media Services Directive was constituted in the 12th amendment of the State Contract of Broadcasting. This three-dimensional legislative process could be instructive for the korean process, because Korea too is on the verge of constituting a regulatory system of convergence media.