• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.105-120
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• 2020

This study explores the process of the actual content production and distribution, by creating a YouTube channel to promote the popular music contents produced by the researcher, which thus reflects the reality where the production of video contents rapidly increases. A YouTube channel titled "Alida Music", of which the focus was to promote indie musicians, was created on February 2019. The contents of 10 indie musicians were produced in one-take live format. The information of the indie musicians was displayed in the form of a screen business card, with their e-mail address and SNS account at the top. Therefore, this promotional design was named "Card Live". Promotional video contents marked with the QR code in the lower right on the screen were produced, along with the promotional phrase "Communicate directly with the artist through the QR code", which allows viewers to watch other contents of the indie musician when they scan the QR code. This research conducted a study on how to improve and promote "Card Live" contents of "Alida Music", which were produced through this process. A group interview targeting five indie musicians, among whom one participant deemed significant was selected to conduct a one-to-one in-depth interview. As a result of the study, the following three conclusions were drawn. First, YouTube was found to be the medium with the greatest influence and highest efficiency at the lowest cost. Second, the evaluation of the participants on "Card Live" were divided into the three categories: need for one-take live, the design elements of "Card Live", and scanning issues of the QR code. Third, there is a need for promotional methods that can effectively utilize the media aspects of YouTube: the channel management issues such as raising public awareness as well as the number of subscribers of "Alida Music" should be resolved and measures to effectively use various media including other SNS should be developed. In terms of its content, it is imperative to recruit diverse performers to make various contents, as well as to come up with ways to link "Card Live" contents with offline. Based on these results, "Card Live" contents should be further revised and complemented in order to provide interesting contents to consumers, which will further develop "Alida Music" as a platform where various musicians and companies meet, thereby inducing contracts with popular music agencies and generating advertising revenues. However, since this study was carried out only with the limited number of participants, future studies should include more participants to bring forth a variety of promotional plans and improvement measures. Also, in the era of consuming contents through smart devices, the fact that some features of "Card Live" were available only on PC, did not fully reflect the characteristics of the times. In the future research, various contents that smartphone users can access and view freely without PC should be produced.

• The Journal of Art Theory & Practice
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• no.9
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• pp.93-121
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• 2010

This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, for the 7th Dokuritsu Bijutsu Kyokai(獨立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for , what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created Japan was under the Fifteen Years War(1931-1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(國際文化振興, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝國美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted , Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education("構成敎育大系"(1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled 'Rhapsody' which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

• Journal of Distribution Science
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• v.10 no.1
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• pp.5-10
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• 2012

Currently, the rewards programs offered by many companies to strengthen customer relationships have been working quite well. In addition, many companies' rewards programs, designed for stabilizing revenue, are recognized to be effective. However, these rewards programs are not significantly differentiated between companies and there are no accurate conclusions currently, which can be made about their effects. Because of this, a company with a customer rewards program may not comprehend the true level of active participation. In this environment some companies' rewards programs inadvertently hinder business profitability as a side effect while attempting to increase customer loyalty. In fact, airline and oil companies pass on the financial cost of their programs to the customer, and as a result, they have been criticized publicly. The result of this is that the corporations with bad rewards programs tend to get a bad image. In this study of stores' rewards programs, we centered our focus on the design of the program. The main problem in this study is to recognize the financial value of the rewards program and whether it can create a competitive edge for the companies despite the cost issues experienced by them. Customers receiving financial rewards for their business may be just as satisfied with a particular company or store versus those who are not, and the program, perhaps, does not form a distinctive competitive advantage. When the customer is deciding between competing companies to secure their product needs with, we wanted to figure out how much of an affect a valuable reward program had on their decision making. To evaluate this, we set the first hypothesis as, "based on the level of involvement of the customers, there is a difference between customers' preferences for rewards programs." In the results of Experiment 1 we saw that in a financial compensation program for high-involvement groups and low-involvement groups, significant differences appeared and Hypothesis 1 was partially supported. As for the second hypothesis that "customers will have different preferences between a financial rewards programs (SE) and a joint rewards programs (JE)," the analysis showed that the preference for JE was significantly higher than that for other programs. In addition, through Experiment 2, we were able to find meaningful results, which revealed that consumers have shown a significant difference in their preferences between SE and JE. The purpose of these experiments was to enable the designing of a rewards program by learning how to enhance service information distribution and strengthen customer relationships. From the results, there should be a great amount of value for future service-related endeavors and academic research programs. The research is significant, because the results can be found to have a positive effect on reward program designs however, it does have the following limitations. First, this study was performed using an experiment, and all experiments have limitations. Second, although there was an individual evaluation and a joint evaluation, setting a proper evaluation criteria was difficult. In this study, 1,000 Korean won (KRW) in the individual evaluation had a value of 2 points, and, in the joint evaluation, 1,000 KRW had a value of 1 point. There may have been alternative ways to differentiate the evaluations to obtain the proper results. In this study, since there was no funding, the experiments were performed orally however, this was complementary to the study. Third, the subjects who participated in this experiment were students. Conducting this study through experimentation was unavoidable for us, and future research should be conducted using an actual program with the target customers.

• Cross-Cultural Studies
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• v.42
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• pp.7-22
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• 2016

Since the Taoyuanming of Confucius an Arcadia (Taohuayuan), utopia imagined in China has continued to this day. Such utopian imagination has been shaped by a variety of literary texts. These works depict the human desires and frustrations that form the utopian imagination. Typically, an Arcadia (Taohuayuan) has been recognized as a symbol of East Asian utopia. An Arcadia (Taohuayuan) anarchism is the utopian character of this small country, based on sensitization of the Lao strong. An Arcadia (Taohuayuan) world ruling class does not exist. But Confucius thought a utopian world is possible to imagine on the premise of 'Virtuous Policy' (德治). By the late Qing Dynasty (淸末), Kangyouwei (康有爲) had written and presented a utopia realized through the system of the "East-West stand." The literary text on utopia information in continued to experiment with implementation of the 'imagined' in the literature as "reality" of everyday life, immediately following the 1911 revolution in the People's Republic of China. As an Avant garde writer, Gefei's "Renmiantaohua" was influenced by the reflexive nature of the report on the point of the experiment. Gefei's "Renmiantaohua" has been rated as an outstanding work depicting the implementation process and the frustration of the utopian imagination. He is an inspiration to vanguard artists who focus on the desire and the frustration of the utopian imagination through the "Renmiantaohua" myths and stories that are comparable to the Sijipuseu story, which in itself perpetuates utopia in literature. In this paper, we explored the trails to implementation of a utopian imagination that has persisted since the ancient Chinese in current literary text. An Arcadia (Taohuayuan) of Confucius and Taoyuanming accompanied Gefei in the 21st century in describing the process of desire and frustration to realize utopia through a variety of traditional shape figures among other favorites. The author interprets those frustrations and desires of the human life course as just utopian imagination.

• Journal of Korean Philosophical Society
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• v.131
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• pp.199-222
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• 2014

This essay aims at clarifying Dasan Jeong Yagyong's view on Jingfang's yaobian theory. As is well known, Jingfang was a scholar of the Earlier Han period who exerted a profound influence on the theoretical development of Xiangshu School by creating the various techniques for interpreting the Zhouyi. Jingfang is also important in relation with Dasan's commentary of the Zhouyi, because some part of Dasan's interpreting techniques are thought to have their origin in Jinfang. For example, Dasan used the bigua theory of which the origin could be traced back into Jingfang. However, in this article, I did not deal with the bigua theory because I am going to write another article about it. In stead, my focus will be put on analyzing how Dasan evaluated Jingfang's yaobian theory. The main issues of my argument can be summarized as following. Firstly, in terms of yaobian, Jeong Yagyong called attention to Jingfang's annotation on the Zhouyi in which Jingfang utilized the yaobian method in three occasions, i.e., the first nine of the Qian(乾初九), the sixth nine of the Guan(觀上九), and the sixth nine of the Bo(剝上九). It seems that Jeong Yagyong set forth enough evidence about Jingfang's use of yaobian at least in relation to two cases of the first nine of the Qian and the sixth nine of the Bo, while the other evidence of the sixth nine of the Guan was not so persuasive. However, even if it is evident that Jingfang made use of the yaobain in two cases, there is no reason to equate it with that of Dasan. If one takes a close look, it becomes clear that Jingfang's way of yaobain is very different from Dasan's. Secondly, Jeong Yagyong mentioned Jiayi(賈誼) who lived about one hundred years before Jingfang, as the person who utilized the yaobian in his book of Xinshu(新書). If it is certain that Jiayi was aware of the yaobian, we can assume that the yaobian technique had been handed down from Jiayi to Jingfang. The manuscript excavated from the Mawangdui tomb also increases the possibility that Jiayi could have had the knowledge on the yaobian. In the chapter of Muhe(繆和) of the Mawangdui Zhouyi, there appears the phrase, i.e., "the first six of the qian, qian goes to mingyi," which shows exactly the same form of the yaobian in the Mr Zuo's Spring and Autumn Annals(春秋左氏傳). The burial period of Mawangdui tomb is estimated at the same year of B.C.168 in which Jiayi died. Therefore, judging from that fact, it becomes evident that the yaobain method was widely diffused around B.C.168. Subsequently, it is possible to infer that the yaobian method had been handed down from the period of Jiayi to Jingfang. If we could present the persuasive evidence to support that inference, it would also have the effect of consolidating Dasan's argument about the yaobian.

• Cross-Cultural Studies
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• v.53
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• pp.131-161
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• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.

• (The) Research of the performance art and culture
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• no.38
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• pp.249-275
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• 2019

Gangneung farm song is important for the ritualistic labortheatricals. Especially, in the theatrical process program, the songsof weeding, such as Haksan Odokkteggi and Ssadae, were alsoincluded to represent the agricultural ritualistic prayer for goodharvest. The use of Gangneung farm song is attractive in termsofthe circumstances. There is no chance of success as a plan simplyfor local events. As a comprehensive art, Gangneung farmsongshould simultaneously revitalize locality, representability andglobality. In this context, three directions are suggested dependingon the development progress. The second direction to the thirddirection are mainly oriented toward government-local authoritycentered support, but, in particular, the third direction should aimtobe an open archive in which the public and the contents prosumercan participate. In the production of the traditional content, OSMUmust be endlessly recreated and spread through 'diversity' and'interrelationships'. The contents utilization was discussed based on the transmissiondetails and analysis evidence of Gangneung Haksan Odokttegi. Thediversification of the way of performing farm song and the folk songs that can induce interest were proposed. Furthermore, basedon the fact that 12 songs classified into 8 work types, there-creation of the contents that focus on the playful aspect of theperforming arts was also proposed. In addition to suggestingthedesirable discourse of the performance groups, the experienceprogram development, education, public relations andcommunication reinforcement based on the narrating principlesoffarm songs, and the development and execution of farmsongprograms based on the tradition and the event demands wereproposed. While mentioning the necessity of value creation, thevitality of performing arts skills that put emotion, imagination, fun, sympathy, and etc. on the original form and the model of farmsongs should be supplemented to Gangneung Haksan Odokttegi. The independent transmission aspect of Gangneung Arirangisalso positive. There are difficulties of reduction of traditionalitydueto the designation, standardized transmission, lack of developmentof voluntary performances, and demonstration-centeredtransmission. Narrowly, we focused on the education andvitalization directions in terms of the capacity building of theconservation council itself. By embodying the essential value of theagricultural literature that farm songs possess, it can bringimpression of all worlds, all lives, communication and sharing, anddraw inspiration from the humanistic view of the world andemotion. The reconstitution of agricultural heritage, theconstruction of a storytelling linked with the concrete objects suchas Beomil National Preceptor, Gulsansa, FlagpoleSupport(Dangganjiju), Seokcheon, Hakbawi rock, and etc., andtheestablishment of fusion type farm song museum were proposed. In terms of culture industry, we requested active support fromtheinstitutions including local governments and various farmsongstorytelling creation projects.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Cartoon and Animation Studies
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• s.51
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• pp.181-201
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• 2018

The cartoon industry in Korea has continued to decline due to the contraction of published comics market and decrease in the number of comic books rental stores until the 2000s when it rapidly started to experience qualitative changes and quantitative growth due to the emergence of webtoon. The market size of webtoon industry, valued at 420 billion won in 2015, is expected to grow to 880.5 billion won by 2018. Notably, most cartoonists who draw cartoon strips are using digital devices and producing scripts in data, thereby overcoming the geographical, spatial and physical limitation of contents. As a result, a favorable environment for the creation of local ecosystems is generated. While the infrastructures of human resources are steadily growing by region, cartoon industries that are supported by the government policy have shown good performance combined with factors of creative infrastructures in local areas such as webtoon experience centers, webtoon campuses and webtoon creation centers, etc. Nevertheless, it is true that cartoon infrastructures are substantially based on a capital area which leads to an imbalanced structure of cartoon industry. To see the statistics, companies of offline cartoon business in Seoul and Gyeonggi Province make up 87%, except for distribution industry. In addition, companies of online cartoon business which are situated outside of Seoul and Gyeonggi Province form merely 7.5%. Studies and research on local webtoon are inadequate. The existing studies on local webtoon usually focus on its industrial and economic values, mentioning the word "local" only sometimes. Therefore, this study looked into the current status of local webtoon of the present time for the current state of local cartoon ecosystem, middle and long-term support from the government, and an alternative in the future. Main challenges include the expansion of opportunities to enjoy cartoon cultures, the independence of cartoon infrastructure, and the settlement of regionally specialized cartoon cultures. It means that, in order to enable the cartoon ecosystem to settle down in local areas, it is vital to utilize and link basic infrastructures. Furthermore, it is necessary to consider independence and autonomy beyond the limited support by the government. Finally, webtoon should be designated as a culture, which can be a new direction of the development of local webtoon. Furthermore, desirable models should be continuously researched and studied, which are suitable for each region and connect them with regional tourism, culture and art industry. It will allow the webtoon industry to soft land in the industry. Local webtoon, which is a growth engine of regions and main contents of the fourth industrial revolution, is expected to be a momentum for the decentralization of power and reindustrialization of regions.

• Journal of Korean Society of Environmental Engineers
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• v.36 no.4
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• pp.286-294
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• 2014

The purpose of this study is to investigate the effects of applying density current generator (hereafter referred to as DCG to large lakes on the operating conditions of DCG, de-stratification, water quality improvement and inhibition of algae occurrence. As a result of a survey conducted to derive the optimum operating parameters of DCG in a condition to minimize eco-toxicity, the following conclusions were obtained. During the survey period, a marked stratification appeared in September to October 2011 and May 2012. At this time, the average depth of water to form thermocline was found to be $5{\pm}2$ m, so the location of discharge port for the operation of DCG was determined to be about 5 m below from the surface. To minimize the adverse effects of benthos and obtain the effect of water mixture at the time of water circulation, the mixing ratio of surface water and deep water was designed to be 3:1 by means of ecotoxicological assessment on the DCG operating characteristics. To select the appropriate operating hours for DCG, DCG was operated by 12 hr, 24 hr, 36 hr and 48 hr. As its result, the formation of thermocline did not occur during the operation of 36 hr. Also, It was effected that start reoperating from 3rd day after stop 2days under the condition of operated during 36 hr with calculated power consumption. Under the above conditions, the results of DO and water temperature analysis during the operation of DCG showed that the stratification, which was distinct previously, appeared to be weak, and relatively lower levels than those before operation were found as a result of water quality analysis on COD and chlorophyll-a, which leads to the conclusion that the water body is maintained at a stable condition due to the circulation of water by the occurrence of density current resulting from the operation of DCG.