• 마케팅과학연구
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• 제20권2호
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• pp.173-178
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• 2010

这是一家私人, 第三代家族拥有的公司, Boom Technologies 公司(BTI). 对电力设施提供产品和服务的供应商, 通信和承包商的市场,不断进步的出口. 尽管在2008年出口销售只占总收入的5%, BTI已形成了一个完整的出口部门. 他们的出口部门的执行董事揭示了一家私营公司的试验和错误以及他们对成功的海外市场的疑问. 自成立以来, BTI始终相信它最大的资产是它的雇员. 当出口销售因为缺乏战略和方向而挣扎时, BTI为其出口部门雇了一位董事总经理. 在BTI总裁和总经理的领导下, 他们很好的利用了这个部门的技能和知识. 为向海外扩展他们的市场份额, 增加出口销售他们进行了机构调整. 结果就是, 出口销售增加了4倍, 国家的地区经理增加了, 同时成功养成了分销渠道网络. 有时, 由于公司的结构, 收入形成很难决定. 因此, 在1996年, 出口部门重组为有限责任公司. 这使得公司改进收入和费用. 最初, 80%的BTI出口销售来自两个国家;因此,最初在海外出售的方法并没有达到预期目标. 然而, 所做的修改, 使得现在公司 经营, 销售超过80个国家. 总经理指出主要有三个出口扩张挑战 1. 产品和船运—BTI主要障碍是产品装配. 最初, 大多数的产品被聚集在美国, 这增加了运输包装费用. 有这么多的部分指定订购, 很多次定的东西到的时候有些零部件都丢失了. 失踪的零件价值上万美元. 装运这些失踪的部分也花费成千上万的美元, 外加一个延迟交货时间六到八周, 所有的费用都由BTI出. 2. 产品适应—在BTI80个出口国家中, 每个国家的安全, 产品标准都不同. 重量, 特殊证, 产品的规格要求, 测量系统的稳定性, 卡车都会因国别而不同. 作为一种准入障碍,以致很难使产品适应. 技术和安全标准的障碍, 作为一种保护国内产业的方法, 可以阻碍成功的进入外国市场 3. 市场的挑战—分销的重要性给BTI带来了很多挑战,因为他们试图根据他们的分销系统来确定每个国家如何操作. 有些国家已经从一个小的竞争对手, 只生产一种具有竞争力的产品而极具竞争力. 而BTI制造超过100种的产品. 营销资料是另一个BTI所关心的, 因为他们试图对经销商推动销售成本. 从翻译和文化差异的角度, 合适的市场营销资料可能会花费很多. 此外, 美国的纸张大小不同于别的一些国家, 当试图复制相同的布局和设计时, 就会出现许多问题. 分销已经成为BTI所面临的挑战之一, 公司宣称他们的分销网络是他们的竞争优势之一, 因为他们的分销商的位置和名字都是保密的. 另外, BTI每年有两次奉献: 培训分销商一年, 另一个是分销商会议. 产品, 航运, 产品适应性, 营销这些挑战,这些海外市场错综复杂需要时间和耐心. 另一个竞争优势是BTI的摇篮到坟墓的策略, 他们遵循产品销售到它的最终安息地, 无论卡车是出租或购买新的或用过的. 他们对该公司购买或租赁之前的产品都提供服务和设备维护计划和一份详细的费用分析. 扩大海外总是会面临挑战. 如总经理说, "如果你没有耐心(出口业务), 你最好做别的事." 知道如何快速适应提供必要的技能, 适应每个国家的不同需求, 以及独特的挑战, 使他们能够保持竞争力.

• 미술이론과 현장
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• 한국전통조경학회지
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• 제32권4호
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• pp.24-36
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• 2014

동악산 청류구곡 일원은 아름다운 계류를 따라 와폭(臥瀑)과 담(潭), 소(沼), 대(臺) 등의 암반경관과 성리문화의 전형으로 향유되어온 구곡문화가 실증적으로 대입된 사례로, 1872년 곡성현 지방도에서 "삼남제일암반계류 청류동(三南第一巖盤溪流 淸流洞)"으로 명기된 바와 같이 풍치가 탁월한 승경처임을 보여준다. 경물(景物)과 경구(警句)가 육로와 수로에 쌍으로 설정되어 차별성을 갖는 청류구곡은 일제강점기인 1916년 이전, 정순태와 조병순의 주도로 설정된 것으로 판단되지만 성리학자들은 물론 불교지도자, 독립운동가 등 선현들의 장구처 등이 다수 발견되는 것으로 볼 때 오래전부터 명인(名人)들의 산수탐방과 은일처로 활용된 것으로 추정된다. 도림사계곡의 기반암 암상에 구성된 청류구곡은 산지형 하천으로 총 길이 약 1.2km, 평균 곡거리 149m로 국내 여타 구곡에 비해 짧은 것으로 나타났다. 전남지역에서 유일하게 확증된 동악산 3개 구곡의 바위글씨는 총 165건으로 국내에서 가장 많은 바위글씨의 집결지로 판단된다. 특히 112개소로 집계된 청류구곡 바위글씨의 내용 분석결과, '수신(修身)'의 의미가 49점(43.8%)으로 가장 많았으며 다음으로 '인명' 21건(18.8%), '경물' 16건(14.2%), 장구처 등 장구지소' 12건(10.6%) 등이었고 '시구(詩句)'가 차지하는 비율은 6건(3.6%)으로 나타났다. 육로상의 제1곡 쇄연문과 수로상의 제9곡 제시인간별유천(除是人間別有天)은 박세화(朴世和)가 충북 제천에 설정한 용하구곡(用夏九曲)의 제1곡 홍단연쇄(虹斷烟鎖) 및 제9곡 제시인간별유천과 일치하는 것으로 동일한 시원(始原)을 갖는 구곡명으로 유추된다. 또한 육로상 제6곡 대은병(大隱屛)은 주자 무이구곡의 제7곡과 일치하는 것으로 구곡원림의 거점으로 인식되며, 7곡과 8곡 사이의 '암서재(巖棲齋)'와 '포경재(抱經齋)' 바위글씨와 석축 흔적 등은 무이구곡 은병봉 아래 무이정사와 비견되는 것으로, 기호사림의 청류동 활동거점으로 파악된다. 선사어제(鮮史御帝), 보가효우(保家孝友, 고종), 사무사(思無邪, 명나라 의종), 백세청풍(百世淸風, 주자), 청류수석 동악풍경(흥선 대원군) 등 명인들의 명구들이 망라된 동악산 구곡은 높은 유가미학적 가치를 표출함은 물론 의미론적 상징문화경관의 보고라 할 수 있다. 아울러 청류구곡은 수심양성을 위한 유가적 가치체계와 불교 및 도교적 관념 등이 공존하는 유불선(儒彿仙) 3교 문화경관의 결집체로 특성이 부각된다. 청류구곡은 최익현(崔益鉉), 전우(田愚), 기우만(奇宇萬), 송병선(宋秉璿), 황현(黃玹) 등으로 대변되는 조선 후기 사림계층이 성리학의 도통의식을 계승하고 '위정척사'와 '존왕양이(尊王攘夷)', '항일의지 고취' 등의 수단으로 설정되고 활용하는 과정에서 배태(胚胎)된 항일 역사문화 항쟁의 거점으로서 장소성과 의미론적 특성에 충일하다.