• Journal of Korean Society of Archives and Records Management
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• v.5 no.1
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• pp.107-136
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• 2005

With development of information technology that allows bidirectional exchange and access of information made possible the formation of e-Government. The e-Government and the E-Government Act established for its support provides a tool for online access of government information. This brought on many changes in the recordkeeping environment of public institutions, and also guarantees access of government information by the general public. The active disclosure of government information was re-confirmed through the Freedom of Information act that was amended in 2004, and through its contents that offer guidelines for administrative information disclosure and announcements (Prime Minister Orders No.422) As a result of this effort, Ministry of Culture and Tourism Cultural Heritage Administration provide real time update of their homepages with focus on key organizational policies and records. Such changes are expected to other various public organizations. In order for public organizations to accurately and efficiently provide information sources, and in order to provide the public with easy access to such information, development of public infrastructure along with e-Government metadata are necessary. Korea does not yet have e-government metadata that has been standardized, although "GILF Core Element" has analogous functions. However, GILS Core element has been developed without recordkeeping intent, and it has not been successful in establishing a connection with recordkeeping metadata. Therefore, in this study, criteria for e-government metadata are proposed.

• Journal of Korean Society of Archives and Records Management
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• v.19 no.1
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• pp.69-93
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• 2019

Archive exhibitions are one of the important tasks of archives that promote the value of archives and contribute to increasing users' interest and positive image but have not yet been activated. Recently, there has been a shift from a one-way archive exhibition to a new way to draw attention and understanding from users by using archival contents. This study aims to propose ways to activate archive exhibitions by utilizing archival contents by analyzing the exhibits of domestic cultural heritage institutions. Focusing on ways to improve the understanding and utilization of records through archival contents, the proposed strategy for developing archive exhibition programs is a three-way contents-based exhibition, experiential exhibition, and digital environment-based exhibition. The results of this study are expected to help develop archival exhibition programs that will enhance users' interest and understanding of records.

• Journal of Conservation Science
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• v.37 no.3
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• pp.255-269
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• 2021

A vast amount of materials-such as prints, woodblock prints, manuscripts, old novels, and letters-written in old Korean and using old grammar and/or obsolete characters, are collected in many institutions, including the Jangseogak at the Academy of Korean Studies. Digitization of these texts has required a prolonged manual inputting process. Individual researchers, who majored in old Korean, have read and typed the characters into electronic documents, which depends upon individual skill, effort, and approach, and is particularly limiting because none can be significantly increased. To date, only a small proportion of the old Korean document collections, currently kept in storage, have been digitized and made available to the public. Even the electronic formats of the texts prove difficult to displaying correctly, due to the incompatibility between the old Korean characters and the character set on today's electronic devices. To improve the techniques and efficiency of digitizing old Korean texts, it is necessary to develop optical character recognition (OCR), which will analyze images of old Korean documents, as well as input, display, and storage methods.

• The Korean Journal of Archival Studies
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• no.71
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• pp.49-89
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• 2022

This study suggests the necessity and domestic application plan a national authority database that promotes an integrated access, richer search, and understanding of historical information sources and archival resources distributed among cultural heritage institutions through the "Social Networks and Archive Context" project case. As the SNAC project was transformed into an international cooperative organization led by NARA, it was possible to secure a sustainable operating system and realize cooperative authority control. In addition, SNAC authority records have the characteristics of providing richer contextual information about life and history and social and intellectual network information compared to libraries. Through case analysis, First, like SNAC, a cooperative body led by the National Archives and having joint ownership of the National Library of Korea should lead the development and expand the scope of participating institutions. Second, in the cooperative method, take a structure in which divisions are made for each field with special strengths, but the main decision-making is made through the administrative team in which the two organizations participate. Third, development of scalable open source software that can collect technical information in various formats when constructing authority data, designing with the structure and elements of archival authority records, designing functions to control the quality of authority records, and building user-friendly interfaces and the need for a platform design reflecting content elements.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.186-203
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• 2015

This article attempts to examine both the outcome and future task of the art history research on Central Eurasia, better known under the name of "Silk Road". The term Central Eurasia encompasses Xinjiang Uygur, Tibet, Mongolia, former Soviet Republics, the northwest region of India, Iran and Turkey. The article analyzes the 30-year history of the region's art history research and further presents a desirable direction that the study should move towards. Though short in its research period, the ROK's art history study on Central Eurasia has shown eye-catching achievement in several areas such as the northwest region of India and the Xinjiang Uygur, Dunhwang of China. Two factors allowed for this accomplishment. First was the actual improvement of the work environment, where the scholars were finally able to travel to Central Eurasia and explore the historic sites for themselves since 1990. More important was the 'arena of study' for the next-generation scholars made possible by institutions like The Korean Association for Central Asian Studies and the Center for Central Eurasian Studies. Slowly but consistently, the two academic societies induced scholars' attention towards the field and fostered new experts. Circumstances changed, marking 2012 as the starting point. International academic forums held by the government branches surged in number. The intention behind it was to link the ROK with the Silk Road and ultimately to obtain the "Eurasia initiative". As of now, the public has shown heightened interest in the issue. The academia is subsequently riding on this second "wave of interest" following the first wave in the 1980s. However, increased popularity comes with some negative consequences, and this art history research on Central Eurasia is no exception. There are criticisms regarding the objectivity of recent academic forums. Some argue that the aim of the forums are sternly set most of the times, prohibiting the presenters to voice their own perspectives. Still, this heated attention will definitely play its role as a stepping stone for further development. The academia should commit to fostering rising researchers who will systemically and professionally study the field. This is imperative in order for the Korean culture to successfully communicate with the world and take itself to a new level. Without completing this task, the ROK's art history research on Central Eurasia is likely to remain idle.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.56-69
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• 2011

A Gamsil is an ritual instrument which enshrine the ancestral tablets of four lines from late great-great-grandfather and grandmother to late father and mother. This has their soul. Juja's "Garye" informs its structure pattern. It is placed in Sadang and takes the form of a perfectly square box. It partitions four rooms and enshrine an ancestral tablet room by room. They get the ancestral tablets line up from west to east. And they also enshrine the ancestral tablets without his descendant together in Gamsil. A Gamsil is a space to enshrine the ancestral tablets and to place an order within a family. A social status and A family economic power become a standard in making and managing Sadang. Kingdom in Joseon period limited the ancestral tablets considering of his degree of official rank which descendant enshrined. A official servant can be stable economically in getting a stipend and build sadang in the house. While household a little in economic enshrine the ancestral tablets at a Gamsil placed at the a space of private home. His personal circumstances make size and pattern, place change in relation to Gamsil. A Gamsil looks like house in structure and pattern. It has the immortality of the soul. And it changed from a table size to a ancestral tablet size. This Gamsil is comfortable to move and is made considering of the width and height of household. The transition of Gamsil means institutions is in close to a family economic power in social change. Kingdom in Joseon early period makes a policy of a Gamyo's build and an ancestral enshrine in basement of Juja's "Garye". The transition of Gamsil gave a common people limitted socially and institutionally the service of late four lines. Most of people enshrine the ancestral tablets of their four lines in approaching of in the late of Joseon Dinasty. They compromise on their reality and cause. The transition of Gamsil implied many different things in social ; the authenticity search and a dignity expression of his family, the foundation for the diffusion of an ancestral service, a space sharing with ancestor and descendent, the increment of a family economic power etc.

• (The) Research of the performance art and culture
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• no.39
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• pp.549-580
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• 2019

There are many festivals in the region that mainly use traditional performing arts. Traditional performing arts has a story that incorporates the history of the area, and it is easy to build a brand that can be distinguished from other areas through traditional performing arts, so it has conditions that are easy to grow in the local festival it can. In this paper, I researched the relationship between the significance and regionality of regional performing arts, referring to the case where traditional performing arts, which is a joint cultural heritage of East Asia, are transmitted as a festival. The performance art with strong locality has grown into a local festival, and the Kanto Festival (竿燈) held in Akita prefecture in northeastern Japan was selected as a representative example of that area. Along with the Aomori Nebuta Festival and the Sendai Tanabata Festival, the Kanto Festival is called the 3 major festivals in the northeastern part of Japan. It was designated as an important intangible folk cultural property in 1980 and became more famous. It visited Seoul several times after the 2005 Japan-Korea Exchange Festival event. It is widely known as a regional festival that represents Japan. The Kanto Festival, which was a participatory event on a village basis, has faced problems such as the migration and aging of young people since the 1970s. In order to solve this, they led the participation of schools, educational institutions, and various groups beyond the village unit and persuaded the participation to the local companies. They have been steadily promoting free lectures on technical skills and school visit events that induce children's interest. As a result, the number of moths mobilized in the current festival has reached 250, and the Kanto tournament also shows great popularity every year.