• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.6
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• pp.46-60
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• 2023

This study examines the appropriateness of indicators and methodologies through the evaluation of cultural services in border areas and uses them as basic data for the ecosystem service-based management of border areas, which are key domestic ecological assets. Accordingly, in this study, seven border cities and counties were evaluated and compared based on the evaluation indicators and methods presented by the National Institute of Ecology. As a result of the cultural service evaluation, it was found that Paju City was superior in leisure and tourism, Inje-gun was best in scenic beauty and heritage, and Yanggu-gun was strongest in education, and Inje-gun in heritage. Accordingly, through this study, future tasks for comprehensive cultural service evaluation were presented as follows. First, in order to evaluate ecosystem services at the national and regional levels, it is necessary to establish an indicator system for cultural service evaluation and monitoring. Second, when building a cultural service evaluation index system, it is necessary to review upper and lower conceptual units and the consistency between indicators according to the scale of the evaluation region. Third, a specific review of DB utilization for cultural service evaluation should be conducted depending on the type of ecosystem. Lastly, given the significant lack of domestic cultural service research, additional basic research must be conducted to evaluate cultural services including non-material and qualitative perceptions. In order to evaluate cultural services in the future, additional basic research is needed for each ecosystem type, and a process of finding appropriate evaluation indicators and methods through research is necessary.

• Proceedings of the Korean Society of Environment and Ecology Conference
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• 2008.10a
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• pp.143-145
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• 2008

• Proceedings of the Korean Society of Environment and Ecology Conference
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• 2010.04a
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• pp.202-204
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• 2010

• Proceedings of the Korean Society of Environment and Ecology Conference
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• 2009.04a
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• pp.120-122
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• 2009

• Proceedings of KHEA Conference
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• 1997.07a
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• pp.193-193
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• 1997

• 한국생활과학회:학술대회논문집
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• 2010.05a
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• pp.113-114
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• 2010

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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• pp.1252-1261
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• 2007

The purpose of this study was to grasp the utilization of traditional Korean Patterns used for fashion cultural products. To achieve this purpose, this study examined the range of fashion cultural products through literature review, previous researches, and market surveys and analyzed the situation of fashion cultural products and the kinds, expression methods, expression techniques, and repeat styles of utilized patterns. The analysis results are as follows. First, in the use of traditional pattern, the most frequently-used fashion cultural products were small and inexpensive accessories, followed by fashion apparel, miscellaneous goods, and living cultural goods. Second, the most frequently-used traditional patterns were plant patterns, especially flower patterns. The next frequently-used ones were mixed patterns, especially in the mixture of flower and letter patterns, and $cloisonn\'{e}$ and flower patterns. The next frequently-used traditional patterns were animal patterns(especially butterfly patterns), followed by geometric patterns, lucky omen patterns, and letter patterns. In the expression methods of used patterns, most products except handicrafts preferred simplified patterns to real patterns. Finally, in the expression techniques of traditional patterns, the most frequently used technique was traditional embroidery, followed by the use of weaving fabrics such as fine gauze and brocade which are used for Hanbok. Also, transfer dyeing which is one of printing techniques, DTP(digital textiles printing), a mixed technique which adds embroidery to weaving fabrics, hand-painting, and a gilt technique were used. The results of this study suggest that most fashion cultural products except few designers' works attached weight to some specified patterns and expression techniques regardless of the characteristics of products since there is little understanding of a variety of patterns and are few researches and development on expression techniques.

• Review of Culture and Economy
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• v.21 no.1
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• pp.63-83
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• 2018

In the US, there are no governing bodies within the federal executive departments dedicated to the arts and cultural affairs. Direct government subsidies for the arts are relatively small compared to other countries with a comparable economy and standard of living. Nevertheless, the US produces artworks, artists, and arts groups, leading the world's arts and culture. Incorporating the concepts of network governance and shared governance, this paper examines the dynamic roles and interrelationships among various for-profit/nonprofit arts organizations, foundations, councils, service organizations, arts advocacy groups, and professional/amateur associations from the federal to local levels that compose the ecology of American arts and culture. Through our evaluation, we conclude that the local/state/federal arts agencies and arts organizations at various levels influence each other via the principle of subsidiarity and isomorphism, creating a unique cultural policy and arts-supporting system that correspond to the political and social structure and environment of the United States.

• Journal of Ecology and Environment
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• v.41 no.1
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• pp.29-33
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• 2017

This study was conducted to clarify the size of the home range and movement distance of juvenile black-faced spoonbills from post-fledging until fall migration using a Global Positioning System (GPS)-wideband code division multiple access (WCDMA)-based telemetry system along the west coast of South Korea. The home range of juvenile black-faced spoonbills (n = 3) was $45.2km^2$ in size and the core area consisted of $8.4km^2$ within the Baeksu mudflat, Yeonggwang, South Jeolla Province, South Korea. Mean weekly movement distances were not significantly different (Kruskal-Wallis test, Z = 3.47, P = 0.18) among individuals, ranging from 0.1 to 23.9 km during the study period. The home range and movement of juvenile black-faced spoonbills were related to intertidal areas, especially to their use as feeding areas.

• Korean Association of Arts Management
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• no.55
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• pp.5-38
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• 2020

This study focuses on the emergence of "hobby-preneurs" and the ways in which they are transforming the virtuous cycle of arts and cultural ecology. The hobby-preneur pursues and expands his or her favorite hobby into a professional job and/or arts business. Hobby-preneurs are the new driving force in the arts and cultural industry. Their activities enhance the arts as a public good even as they build valuable social capital for arts organizations and have a profound impact on supply and demand in the arts and cultural marketplace. Thus we found that by injecting and potentiating certain values that professional artists cannot directly deliver to arts consumers, hobby-preneurs function as major intermediaries in the virtuous cycle of arts and cultural ecology. To understand more about these emergent actors we examine their personal, social, and economic values and how these values guide their arts-related activities and thereby impact the ecology of the arts and cultural sector. In this study we use a phenomenological approach to investigate five hobby-preneurs and the particular ways their acquisition of professionalism is transforming the arts education node of the virtuous cycle in the creative sector.