Pub Date : 2023-02-28DOI: 10.52564/jamp.2023.65.169
Sohyun Park
Until recently, there have been constant calls for a complete revision of the Museum and Art Gallery Support Act. At the center is the argument that the legal definition and conceptual system for museums and art galleries should be corrected. This paper tried to clarify why the legal definition, scope of application, and classification system of museums and art galleries are always and still important issues. The government-wide deregulation stance and the quantitative expansion of cultural facilities at the cultural policy level, which began in earnest in the 1990s, were factors that drove the process of enacting and revising the law. In the process, the policy direction of museums and art galleries, quantitative expansion through deregulation, was established, and active adjustment of the legal definition, scope of application, and classification system became the core strategy of deregulation. In other words, the provisions on the definition, scope, and classification system were repeatedly revised to maximize the effect of quantitative expansion by lowering the threshold of legal boundaries of museums and art galleries as much as possible and expanding the scope as possible. As a result, the problems caused by the revision have been repeatedly pointed out since the 2000s, but the revision for the re-establishment of the conceptual system was considered contrary to deregulation and was not made. And the confusion of the conceptual system in law became and amplified the confusion of reality. Based on existing studies, this paper attempted to problemize the confusion caused by the policy stance of deregulation into specific legal issues.
{"title":"Deregulation and the Museum and Art Gallery Support Act: Focusing on the Museum’s Legal Definition and Classification","authors":"Sohyun Park","doi":"10.52564/jamp.2023.65.169","DOIUrl":"https://doi.org/10.52564/jamp.2023.65.169","url":null,"abstract":"Until recently, there have been constant calls for a complete revision of the Museum and Art Gallery Support Act. At the center is the argument that the legal definition and conceptual system for museums and art galleries should be corrected. This paper tried to clarify why the legal definition, scope of application, and classification system of museums and art galleries are always and still important issues. The government-wide deregulation stance and the quantitative expansion of cultural facilities at the cultural policy level, which began in earnest in the 1990s, were factors that drove the process of enacting and revising the law. In the process, the policy direction of museums and art galleries, quantitative expansion through deregulation, was established, and active adjustment of the legal definition, scope of application, and classification system became the core strategy of deregulation. In other words, the provisions on the definition, scope, and classification system were repeatedly revised to maximize the effect of quantitative expansion by lowering the threshold of legal boundaries of museums and art galleries as much as possible and expanding the scope as possible. As a result, the problems caused by the revision have been repeatedly pointed out since the 2000s, but the revision for the re-establishment of the conceptual system was considered contrary to deregulation and was not made. And the confusion of the conceptual system in law became and amplified the confusion of reality. Based on existing studies, this paper attempted to problemize the confusion caused by the policy stance of deregulation into specific legal issues.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"20 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123740890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.52564/jamp.2023.65.211
Kyoung-Shin Park
In August 2022, the International Council of Museums (ICOM) held a general meeting and adopted a new museum definition, which emphasized “diversity”, “sustainability”, and “ethics”, while the expression of “non-profit” was changed to “not-for-profit”. Discussions on non-profit or not-for-profit of museums and art museums are not new, but discussions on whether non-profit or not-for-profit is a prerequisite for museums and galleries under the Promotion Law for Museum and Art Museums of Korea are supposed to intensify in line with ICOM’s revision of definition of museums. In particular, considering that many of the materials of museums and art museums of academic, artistic, educational, and historical value, including national treasures, are held in private museums or private art galleries, controversies over for-profit activities of museums and art museums are expected to intensify in the future. Therefore, it is more necessary than ever to reconsider the scope and allowable making-profit activities of museum and art museums under the Promotion Law for Museum and Art Museums of Korea, taking into account the role of museums and art museums and various environmental changes surrounding museums and art museums. In this regard, this paper reviewed the fact that the introduction of non-profit or not-for-profit prerequisite for the registration into the Promotion Law for Museum and Art Museums of Korea could be a problem in terms of legal stability and excessive restrictions on freedom of occupation in current situation, where private or for-profit corporations have been registered and operated as private museums or art museums under the Promotion Law for Museum and Art Museums of Korea. However, terms of non-profit or not-for profit does not mean banning of all profitable activities, and thus detailed standards need to be prepared, considering that the criteria for for-profit activities are unclear and it is not easy to evaluate for-profit activities in the business plan in the course of reviewing museums and art museums to give supports and aids to them. In addition, it is necessary to revise related articles for the overall reorganization of the registration and support system for museums and art museums.
{"title":"A Study on the Legal Character of Museums and Art Museums under the Promotion Law for Museum and Art Museums of Korea: Focusing on Non-for-Profit Character","authors":"Kyoung-Shin Park","doi":"10.52564/jamp.2023.65.211","DOIUrl":"https://doi.org/10.52564/jamp.2023.65.211","url":null,"abstract":"In August 2022, the International Council of Museums (ICOM) held a general meeting and adopted a new museum definition, which emphasized “diversity”, “sustainability”, and “ethics”, while the expression of “non-profit” was changed to “not-for-profit”. Discussions on non-profit or not-for-profit of museums and art museums are not new, but discussions on whether non-profit or not-for-profit is a prerequisite for museums and galleries under the Promotion Law for Museum and Art Museums of Korea are supposed to intensify in line with ICOM’s revision of definition of museums. In particular, considering that many of the materials of museums and art museums of academic, artistic, educational, and historical value, including national treasures, are held in private museums or private art galleries, controversies over for-profit activities of museums and art museums are expected to intensify in the future. Therefore, it is more necessary than ever to reconsider the scope and allowable making-profit activities of museum and art museums under the Promotion Law for Museum and Art Museums of Korea, taking into account the role of museums and art museums and various environmental changes surrounding museums and art museums. In this regard, this paper reviewed the fact that the introduction of non-profit or not-for-profit prerequisite for the registration into the Promotion Law for Museum and Art Museums of Korea could be a problem in terms of legal stability and excessive restrictions on freedom of occupation in current situation, where private or for-profit corporations have been registered and operated as private museums or art museums under the Promotion Law for Museum and Art Museums of Korea. However, terms of non-profit or not-for profit does not mean banning of all profitable activities, and thus detailed standards need to be prepared, considering that the criteria for for-profit activities are unclear and it is not easy to evaluate for-profit activities in the business plan in the course of reviewing museums and art museums to give supports and aids to them. In addition, it is necessary to revise related articles for the overall reorganization of the registration and support system for museums and art museums.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130417717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.52564/jamp.2023.65.109
UnHee Choi, E. Hyun
With the growing application of interactive elements in the cultural and artistic field, researchers have begun to pay attention to how these elements are impacting the production, distribution, and consumption stages with a focus on their role in museums. Our study examines how the introduction of these elements in these institutions, which play a crucial role in the culture and arts ecosystem. We collected data from 1,563 museums from around the world through an online platform called Tripadvisor, using a web crawling method. We used regression analysis models to examine the effect of interactive elements, such as audio guides, on attracting visitors to museums. We also analyzed the data to find out its impact on different types of visitors, like families, couples, friends, and individuals. The results of our study show that museums with interactive elements are more popular among family visitors. This study provides valuable insights into the impact of interactive elements on the cultural and artistic field by complementing findings of qualitative research, which has to date prevailed research on this topic.
{"title":"The Impact of Interactive Elements on Increasing Museums Visitors: A Global Study","authors":"UnHee Choi, E. Hyun","doi":"10.52564/jamp.2023.65.109","DOIUrl":"https://doi.org/10.52564/jamp.2023.65.109","url":null,"abstract":"With the growing application of interactive elements in the cultural and artistic field, researchers have begun to pay attention to how these elements are impacting the production, distribution, and consumption stages with a focus on their role in museums. Our study examines how the introduction of these elements in these institutions, which play a crucial role in the culture and arts ecosystem. We collected data from 1,563 museums from around the world through an online platform called Tripadvisor, using a web crawling method. We used regression analysis models to examine the effect of interactive elements, such as audio guides, on attracting visitors to museums. We also analyzed the data to find out its impact on different types of visitors, like families, couples, friends, and individuals. The results of our study show that museums with interactive elements are more popular among family visitors. This study provides valuable insights into the impact of interactive elements on the cultural and artistic field by complementing findings of qualitative research, which has to date prevailed research on this topic.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130669157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.52564/jamp.2023.65.133
H. An, Seung Ha Lee
This study analyses two festivals while focusing on Schmitt’s experiential marketing theory. “Tenth Dankook University Industry-University Cooperation (LINC 3.0) Pleasure (樂) Festival,” planned by the LINC 3.0 project group at Dankook University; and “Autumn Night’s Healing Music Festival,” hosted by the Gangbuk District Office. This study examines the importance of experiential booths installed at those festivals and the experiential marketing outcome. The Pleasure Festival was planned with the key theme of employment, start-ups, and industry-university cooperation. Local young adults (including university students in their 20s) were the main visitor segment. Hence, factors that could grab their attention, including food and beverage, giveaways, and tarot, combined with content that could provide practical support for employment and start-ups, such as employment and start-up mentoring, guidance to policies, and matching company managers. The Music Festival adequately utilized experiential marketing factors to meet its concept, the April 19 Revolution, so visitors could enjoy the festival while being reminded of the April 19 Revolution. In particular, it implemented full-scale sensory marketing to create the overall atmosphere and image and promoted actions through experiential booths. This study confirmed that festivals can be successfully held in addition to establishing a concept when experiential marketing factors correspond with the concept and when exciting content is provided to visitors. From a sensory, sensibility, perceptional, behavioral, and relational perspective, experience provides new values, creates synergistic effects, and assumes a role that enables visitors to become participants with active and sensible characteristics from a new perspective. Simultaneously, it is an “anti-manneristic” mechanism that helps festivals secure originality and differentiation from other festivals. This study is significant because it measured the five experiential marketing factors, identified the ongoing communication during this process, and highlighted the importance of experiential factors for successful festivals.
{"title":"A Study to Develop Experiential Marketing Through Case Analysis of Local Festivals","authors":"H. An, Seung Ha Lee","doi":"10.52564/jamp.2023.65.133","DOIUrl":"https://doi.org/10.52564/jamp.2023.65.133","url":null,"abstract":"This study analyses two festivals while focusing on Schmitt’s experiential marketing theory. “Tenth Dankook University Industry-University Cooperation (LINC 3.0) Pleasure (樂) Festival,” planned by the LINC 3.0 project group at Dankook University; and “Autumn Night’s Healing Music Festival,” hosted by the Gangbuk District Office. This study examines the importance of experiential booths installed at those festivals and the experiential marketing outcome. The Pleasure Festival was planned with the key theme of employment, start-ups, and industry-university cooperation. Local young adults (including university students in their 20s) were the main visitor segment. Hence, factors that could grab their attention, including food and beverage, giveaways, and tarot, combined with content that could provide practical support for employment and start-ups, such as employment and start-up mentoring, guidance to policies, and matching company managers. The Music Festival adequately utilized experiential marketing factors to meet its concept, the April 19 Revolution, so visitors could enjoy the festival while being reminded of the April 19 Revolution. In particular, it implemented full-scale sensory marketing to create the overall atmosphere and image and promoted actions through experiential booths. This study confirmed that festivals can be successfully held in addition to establishing a concept when experiential marketing factors correspond with the concept and when exciting content is provided to visitors. From a sensory, sensibility, perceptional, behavioral, and relational perspective, experience provides new values, creates synergistic effects, and assumes a role that enables visitors to become participants with active and sensible characteristics from a new perspective. Simultaneously, it is an “anti-manneristic” mechanism that helps festivals secure originality and differentiation from other festivals. This study is significant because it measured the five experiential marketing factors, identified the ongoing communication during this process, and highlighted the importance of experiential factors for successful festivals.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115950693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study is to understand the legitimacy of artworks implemented in society beyond the art world through the case of Cho Young Nam’s ghost painter. This article theoretically reviewed the legitimacy of artworks in three pillars (cultural-cognitive, normative, and regulative) drawn from the neo-institutional approach and the perspective of the sociology of arts. A qualitative case study, then, was conducted on Cho Young Nam’s Hwatu paintings by mainly collecting secondary data such as newspapers, the written judgments of courts, books, journal articles, and so on. As a result, this study found the existence of experts, the public, and the judiciary, both inside and outside the art world, who are involved in the legitimation of the art. Accordingly, this study is meaningful in understanding that the discussion on the legitimacy of artworks is conducted at normative and regulative levels in addition to the cultural-cognitive layer by intermediaries in the art world that have been stressed in previous research. However, this study discusses that the arguments about the legitimacy of Cho Young Nam’s Hwatu paintings at the level of cultural-cognitive continue, albeit reserving judgment of the judiciary on and ethically criticizing by the public that legitimacy. This implies that the debate about the legitimacy of artworks within and outside the art world is again limited to the inside of the art world.
{"title":"The Cultural-Cognitive, Normative, and Regulative Legitimacy of Artworks: Focusing on the Case of Cho Young Nam’s Ghost Painter","authors":"Jin Woo Lee, Insul Kim","doi":"10.52564/jamp.2022.64.5","DOIUrl":"https://doi.org/10.52564/jamp.2022.64.5","url":null,"abstract":"The purpose of this study is to understand the legitimacy of artworks implemented in society beyond the art world through the case of Cho Young Nam’s ghost painter. This article theoretically reviewed the legitimacy of artworks in three pillars (cultural-cognitive, normative, and regulative) drawn from the neo-institutional approach and the perspective of the sociology of arts. A qualitative case study, then, was conducted on Cho Young Nam’s Hwatu paintings by mainly collecting secondary data such as newspapers, the written judgments of courts, books, journal articles, and so on. As a result, this study found the existence of experts, the public, and the judiciary, both inside and outside the art world, who are involved in the legitimation of the art. Accordingly, this study is meaningful in understanding that the discussion on the legitimacy of artworks is conducted at normative and regulative levels in addition to the cultural-cognitive layer by intermediaries in the art world that have been stressed in previous research. However, this study discusses that the arguments about the legitimacy of Cho Young Nam’s Hwatu paintings at the level of cultural-cognitive continue, albeit reserving judgment of the judiciary on and ethically criticizing by the public that legitimacy. This implies that the debate about the legitimacy of artworks within and outside the art world is again limited to the inside of the art world.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130191808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-30DOI: 10.52564/jamp.2022.64.31
J. Tchun, Annette Eunkyung Kang
The purpose of this study is to introduce the notion and characteristics of the Cancel Culture based on the Grounded Theory and to open a forum for discussion on conflicting perspectives. To this end, this study aimed to suggest implications by qualitatively following the logic of the Grounded Theory with related cases and examining their impact, focusing on the recent exclusion of Russian arts and culture among international institutions. The notion of Cancel Culture is a movement of depriving public figures of their social status or professions by publicly discrediting and boycotting those who are judged to be unethical and immoral. It might appear to be effective when legal remedies are not appropriate, by requesting immediate correction in an informal manner. On the other hand, due to the nature of public opinion driven by private censorship, it is apt to lose neutrality and tolerance, and thus threaten freedom of expression, besides undermining human rights. Under the circumstances that the Cancel Culture is getting attention as a social concern around the world, this study could be meaningful in identifying the need for related research to open a public forum in domestic arts and academic communities.
{"title":"A Study on the Relations between Arts and Politics: Focusing on the Cancel Culture in the 21st Century","authors":"J. Tchun, Annette Eunkyung Kang","doi":"10.52564/jamp.2022.64.31","DOIUrl":"https://doi.org/10.52564/jamp.2022.64.31","url":null,"abstract":"The purpose of this study is to introduce the notion and characteristics of the Cancel Culture based on the Grounded Theory and to open a forum for discussion on conflicting perspectives. To this end, this study aimed to suggest implications by qualitatively following the logic of the Grounded Theory with related cases and examining their impact, focusing on the recent exclusion of Russian arts and culture among international institutions. \u0000The notion of Cancel Culture is a movement of depriving public figures of their social status or professions by publicly discrediting and boycotting those who are judged to be unethical and immoral. It might appear to be effective when legal remedies are not appropriate, by requesting immediate correction in an informal manner. On the other hand, due to the nature of public opinion driven by private censorship, it is apt to lose neutrality and tolerance, and thus threaten freedom of expression, besides undermining human rights. \u0000Under the circumstances that the Cancel Culture is getting attention as a social concern around the world, this study could be meaningful in identifying the need for related research to open a public forum in domestic arts and academic communities.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115640230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-30DOI: 10.52564/jamp.2022.64.59
Semi Choi, Yoonkyung Min
Since the establishment of ‘Arko Arts Theater’ by the ARTS COUNCIL KOREA in 1981, the area around Dongsung-dong and Hyehwa-dong in Jongno-gu has been called ‘Daehak-ro’ and has become the center of the performing arts. However, there were not many studies that analyzed how Daehang-ro Theater Artist experienced and understood the policies implemented to revitalize the region and the changes in the commercial environment. With this awareness of the problem, this study tried to discuss the experience of theater activities of the Theater Artist staying in Daehang-ro while engaging in the theater culture of Daehang-ro as a narrative research methodology. As a result, first of all, the opportunity to enter and settle in Daehak-ro has changed over time from informal and unsystematic inflow through private networks to visible and systematic entry through official recruitment and platforms. Second, unlike the past when certain economic achievements followed the experience of revitalizing Daehak-ro, the current there is only the satisfaction of self-realization of Theater Artist, so the economic requirements as a job are ambiguous. Third, gentrification in cultural and commercial districts is a chronic phenomenon that has continued since the 1980s, and all research participants felt the problem of gentrification. Lastly, the factors of change in Daehak-ro could be summarized as migration through ‘leaving Daehak-ro’, securing a stage through the expansion of public theaters, and political rights as workers.
{"title":"A Narrative Study on the Performance Activity Experience of Daehak-ro Theater Artist by Generation","authors":"Semi Choi, Yoonkyung Min","doi":"10.52564/jamp.2022.64.59","DOIUrl":"https://doi.org/10.52564/jamp.2022.64.59","url":null,"abstract":"Since the establishment of ‘Arko Arts Theater’ by the ARTS COUNCIL KOREA in 1981, the area around Dongsung-dong and Hyehwa-dong in Jongno-gu has been called ‘Daehak-ro’ and has become the center of the performing arts. However, there were not many studies that analyzed how Daehang-ro Theater Artist experienced and understood the policies implemented to revitalize the region and the changes in the commercial environment. With this awareness of the problem, this study tried to discuss the experience of theater activities of the Theater Artist staying in Daehang-ro while engaging in the theater culture of Daehang-ro as a narrative research methodology. \u0000As a result, first of all, the opportunity to enter and settle in Daehak-ro has changed over time from informal and unsystematic inflow through private networks to visible and systematic entry through official recruitment and platforms. Second, unlike the past when certain economic achievements followed the experience of revitalizing Daehak-ro, the current there is only the satisfaction of self-realization of Theater Artist, so the economic requirements as a job are ambiguous. Third, gentrification in cultural and commercial districts is a chronic phenomenon that has continued since the 1980s, and all research participants felt the problem of gentrification. Lastly, the factors of change in Daehak-ro could be summarized as migration through ‘leaving Daehak-ro’, securing a stage through the expansion of public theaters, and political rights as workers.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"177 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127039493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.52564/jamp.2022.63.67
Seung-Woon Kim, Nara Youn
This study was conducted to understand consumers’ concert ticket purchase behavior using an experimental approach and derived a practical sales promotion strategy. More specifically, we investigated an effective concert poster advertisement strategy utilizing a numerosity heuristics of the large versus small time unit matched with the hedonic versus utilitarian message appeal type. In the context of the Bangtan Boys, Study 1 showed that the interaction between time unit (30 days vs. 1 month) used for the ticket opening time and concert message type (meaning pleasure vs. meaning) enhances consumers’ interest in the concert. In Study 2, we showed that a significant interactive effect between the waiting time unit until the concert date (one week versus seven days) and the concert message on the consumers’ attitudes toward the concert was mediated by the joy of waiting. In conclusion, as a performance ticket promotion strategy, this research suggests that advertisement effectiveness can be improved by using a larger time unit for the hedonic appeal and by using a smaller time unit for the meaningful appeal.
{"title":"The Effects of Hedonic vs. Meaningful Message Type and Time Units on the Persuasiveness of Concert Advertising","authors":"Seung-Woon Kim, Nara Youn","doi":"10.52564/jamp.2022.63.67","DOIUrl":"https://doi.org/10.52564/jamp.2022.63.67","url":null,"abstract":"This study was conducted to understand consumers’ concert ticket purchase behavior using an experimental approach and derived a practical sales promotion strategy. More specifically, we investigated an effective concert poster advertisement strategy utilizing a numerosity heuristics of the large versus small time unit matched with the hedonic versus utilitarian message appeal type. In the context of the Bangtan Boys, Study 1 showed that the interaction between time unit (30 days vs. 1 month) used for the ticket opening time and concert message type (meaning pleasure vs. meaning) enhances consumers’ interest in the concert. In Study 2, we showed that a significant interactive effect between the waiting time unit until the concert date (one week versus seven days) and the concert message on the consumers’ attitudes toward the concert was mediated by the joy of waiting. In conclusion, as a performance ticket promotion strategy, this research suggests that advertisement effectiveness can be improved by using a larger time unit for the hedonic appeal and by using a smaller time unit for the meaningful appeal.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126706449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study is to explore the practical utility of the polycentric governance composition of public-private cooperation in regional cultural and artistic activities. This is to confirm the institutional utility of the polycentric governance form and the actual situation felt in the actual field through in-depth interviews, and to present the phenomena derived through this as a basis for the development of cultural and artistic policies in the future. In particular, it was considered that it would be an example of presenting a regional model to overcome the crisis of Covid-19 to check whether the cultural and artistic policies that changed rapidly after Covid-19 and whether the main functions of polycentric governance worked in the business site. The theoretical basis of this study is E. Ostrom's polycentric governance theory, and among them, five democratic efficiencies of multi-core governance(right to speak, public-private joint production, public entrepreneurship, competition, and extrasibility) were explored. Accordingly, a qualitative study was conducted in three areas (Insa-dong, Daehak-ro, and Jamun-bak) in Jongno-gu, Seoul, and results consistent with the above five democratic efficiencies were confirmed in the governance of culture and arts in each dong. As a result of this study, it is expected that culture and arts policies using polycentric governance will be activated, and used as empirical data in the process of establishing a support system for culture and arts sites that have shrunk since Covid-19.
{"title":"A Study on the Polycentric Governance of Local Culture and Arts Areas in the Covid-19 Situation: Focusing on Jongno","authors":"H. Park, Yoonkyung Min","doi":"10.52564/jamp.2022.63.5","DOIUrl":"https://doi.org/10.52564/jamp.2022.63.5","url":null,"abstract":"The purpose of this study is to explore the practical utility of the polycentric governance composition of public-private cooperation in regional cultural and artistic activities. This is to confirm the institutional utility of the polycentric governance form and the actual situation felt in the actual field through in-depth interviews, and to present the phenomena derived through this as a basis for the development of cultural and artistic policies in the future. In particular, it was considered that it would be an example of presenting a regional model to overcome the crisis of Covid-19 to check whether the cultural and artistic policies that changed rapidly after Covid-19 and whether the main functions of polycentric governance worked in the business site. The theoretical basis of this study is E. Ostrom's polycentric governance theory, and among them, five democratic efficiencies of multi-core governance(right to speak, public-private joint production, public entrepreneurship, competition, and extrasibility) were explored. Accordingly, a qualitative study was conducted in three areas (Insa-dong, Daehak-ro, and Jamun-bak) in Jongno-gu, Seoul, and results consistent with the above five democratic efficiencies were confirmed in the governance of culture and arts in each dong. As a result of this study, it is expected that culture and arts policies using polycentric governance will be activated, and used as empirical data in the process of establishing a support system for culture and arts sites that have shrunk since Covid-19.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128420497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.52564/jamp.2022.63.35
Min-Young Lim
Recently, technology media based on digital media, which artists are paying attention to, not only changes in the formal and content of art works, but also changes the environment surrounding art, such as the way works are produced, exhibition, writer-work-viewer relationships, artist roles, and social functions. Digital media is multimedia with interconnectivity and interactivity. These characteristics stimulate the viewer's sense of versatility and provide an environment in which participants can experience immersion. This induces viewers to focus physically and mentally on the work, encouraging viewers to participate in the work. In the process of actively interacting with the work by the viewer, the artist puts down his authority as an absolute work creator and emphasizes the role of content creator. In addition, there is a phenomenon of collaborating with experts or seeking various exhibition methods for professional expression of content. This study is meaningful in examining the change caused by the acceptance of new media in art according to technological development by paying attention to the phenomenon of digital media-based multimedia being applied to art and examining the effect of viewers' viewing methods. Analyzing the phenomenon of new technology being used as a medium in art and the internal and external changes in art will be an opportunity for artists and others to understand the current new media art and discuss how it will change in the future.
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