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重慶貝名有限公司

發布時間:2021-11-18 06:12:03 來源:通遼市計算機廠 瀏覽:89

重慶ShelvesofPaperbackbookstoreinItaewon,Seoul,arefilledwithvintagePenguinBookscollectedbyownerLeeHee-song.KoreaTimesphotobyChoiWon-sukPaperbackbookstoreistreasuretroveforvintagebookloversByKwonMee-yooAshelfofvintageorangePenguinBooksalwayscatchesoneseyeswhenvisitingusedbookstores.Asecond-handbookshopfilledsolelywithPenguinBookswouldbeadreamofabibliophile.Paperback,anewbookstorethatopenedinFebruarylocatednearItaewon-dongsGyeongidanStreet,isadream-come-trueforbookloversasthisshoponlyfeaturesvintagePenguinBooks,itsimprintsPelicanBooksandPuffinBooks,andothergiftitemsusingtheiconicPenguinbookcoverdesign.LeeHee-song,ownerofPaperback,saidittookabouttwoyearsforhimtocollectenoughbooksandfindabricks-and-mortarspace,bringinghisideaofaPenguinBooks-onlybookshoptofruition.ThisisnotLeesfirstbookshop.HepreviouslyranPinokioBooks,abookstorespecializinginpicturebooks,beforeopeningPaperback.BeforeopeningPinokioBooksin2013,hewasawhite-collarworkeratembassiesandnon-governmentalorganizations.IhavealwaysthoughtthatifIownedapersonalbusiness,itwouldbeabookstore.Manypeoplemighthavethoughtsoastheygrewupvisitinglocalbookstoresbecauselifesurroundedbybooksseemedsoideal,LeesaidataninterviewwithTheKoreaTimes,Wednesday.Myfamilyandfriendsdiscouragedmefromstartingabookshopatfirst.Someofthemevenmadeabetthatitwouldclosewithinsixmonths,butIvebeeninthebookstorebusinessforeightyearsnow.However,operatingasmallbookshopintheeraofonlinecommercewasharsherthanhischildhooddreamandhequicklyhadtogethisheadoutoftheclouds.PinokioBooksranwellforthefirstfewyears,butthebusinessbecamedifficultassimilarlythemedbookstoressprangup.Onthevergeofquittingthebooksellingbusiness,IwentbacktobasicsandafewPenguinBooksinmybookshelfjumpedoutatme.FascinatedbythecharmsofvintagePenguinBooks,IstartedtopurchasethemwithanaimofopeningaPenguinBooks-onlybookstore.LeeHee-song,ownerofPaperbackbookstore/KoreaTimesphotobyChoiWon-sukThenameofthestorecomesfromhowPenguinBooksrevolutionizedpublishingthroughlightweight,affordablepaperbackeditions,thoughtheywerenotthefirstoftheirkind.IbecamemoreinterestedinthehistoryandsignificanceofPenguinBooksasIcollectedthem.PenguinBookswaslaunchedbySirAllenLanein1935,inspiredbyalackofqualitybooksatbookstallsduringhistraintriptovisitAgathaChristie.PenguinBooksledtothepopularizationofpaperbacks.AmongtheearlyPenguinBooksseries,mostofthemwereexistingfictionandnon-fictionworksandLanepurchasedrightsforpaperbackeditionsandpublishedthemwithoriginaldesigns,Leeexplained.AtPaperback,LeedecidedtoonlyfeaturePenguinBookspublishedfromitsestablishmentin1935untilfounderLanepassedawayin1970.

貝名ArtistKimYun-soosworksarefeaturedontheonlineartplatformManifoldrunbytheKoreaArtsManagementService.CapturedfromManifoldByKwonMee-yooAnidealrelationshipbetweenanartistandagallerycanbecomplementarywhentheartistprovidesqualityworksandthegallerypromotesandsellsthem.However,itcaneasilygosourwhenthereismiscommunicationoronesidedoesnotfulfilltheirresponsibility.TheKoreaArtsManagementService(KAMS)isofferingtheGrantforArtistManagementforthreeyearswiththeaimofnurturinghealthygallery-artistrelationships.KeumHye-wonisthedirectorofGallerySoso,whichshefoundedinPaju,GyeonggiProvincein2007.MyhusbandisanarchitectwhoworkedunderthelatearchitectKimSwoo-geun.AswesawexhibitionsandperformancesatSPACELove,asmalltheaterinsidetheSPACEgroupbuilding,wehadthisvaguedreamofestablishingaculturalenterprisewhenwecouldaffordit,KeumsaidinaninterviewwithTheKoreaTimes.Itwasapassingremark,butbecametrueeventually.ThoughGallerySosohasheldexhibitionsofrenownedKoreanartistswhoshapedKoreascontemporaryartsuchasChoiByung-so,ParkChan-kyongandKimTaek-sang,thegallerysignedexclusivecontractswithartistsforthefirsttimethroughtheKAMSGrantforArtistManagement.Wehavefaithintheartistsweworkwithandtrytoholdtheirexhibitionssteadily,butthisisthefirsttimeforustohaveanexclusivecontractthankstotheKAMSgrant,Keumsaid.Sosoisnotaverycommercialgallery,sometimesevenmistakenasanalternativeexhibitionspace.Soitwasdifficultforustomanageartistsexclusively,butthefundingfromKAMSpropelledustostrengthenourrelationshipwiththeartists.GallerySosoinPaju,GyeonggiProvinceisintroducedontheonlineartplatformManifoldrunbytheKoreaArtsManagementService.CapturedfromManifoldAsthecontractrunsforatleastthreeyears,GallerySosotriedtofindtherightartiststoworkwith.Currently,itrepresentsthreeartistsonexclusivecontracts―LeeHaiminsun,SongMin-gyuandKimYun-soo.有限ArobotserverdeliversfoodtoacustomeratNoBrandBurgerinYeoksam-dong,Seoul,Feb.2.KoreaTimesphotobyParkJi-wonArobotconveyercooksbunsforhamburgersatNoBrandBurgerinYeoksam-dong,Seoul,Feb.2.KoreaTimesphotobyParkJi-wonByParkJi-wonAttheentranceofNoBrandBurger,afastfoodchainaffiliateofShinsegaeFoods,peoplewaitinlinetoordermealsandpayatkiosks.Oncetheordersandpaymentaredone,automatedfoodmachinesstarttocookbunsandpatties,andworkersassembleandpreparethemforthecustomers.Whenthefoodordersareready,staffputthemonarobotserverwhiletheordernumberspopuponascreentonotifycustomerstheirmealsareready.Workersarestillneededtodosomechoressuchascleaningandmaintainingthemachines,butcustomerscangettheirfoodwithouthavinganycontactwithaperson.Evenafewyearsago,suchascenewasunthinkableatleastintherealworld,althoughrobotcooksandserversweredepictedinsciencefictionmovies.AutomatedcooksarestilluncommoninrestaurantsinKorea,but,astheCOVID-19pandemiclingers,morerestaurantsarelookingtoautomatedkitchensasanoptiontoavoidinfectionsandcutcosts.RobotchefgettyimagesbankWoowaBrothers,oneofKoreasleadingdeliverycompanies,hasintroduced241servingrobotsorDeliplatein186restaurantsnationwideasofOctoberlastyear.TherentalproductintroducedinNovember2019costssome1millionwon($892)permonthbutmorerestaurantswentforthemoverthelastyear.Itsveryinterestingtoseerobotscarryingfoodplates.Still,Ineedtocallserverstoordersomething,butitsgoodforbothserversandcustomersindoingsomesimpletaskssuchasdeliveringadditionalsidedishes.Inthispandemic,itsalsogoodtoreducecontactsbetweenpeople,saidacustomersurnamedRyuinarestaurantusingtherobotinSeoul.KT,HyundaiRoboticsandMonthlyKitchen,astartupcompanyrunningasharedkitchenbusiness,havesignedanagreementinNovembertoautomatethesharedkitchenbusiness.AnautomatedwokcooksfoodatGongdoriKitcheninShinsa-dong,Seoul,inAugust.CourtesyofShinStarrpresentsShinKish,CEOofstartupShinStarr,whoinventedanautowokandrunsaKoreanfoodchainrestaurantbrand,seesrisingdemandforautomatedchefsamidthespreadofCOVID-19.TheKoreanmarkethasbeenrelativelyunenthusiasticinintroducingautomatedkitchens,comparedtotheWesternmarket,partlybecauseKoreansvaluecookingskillsandknowhow.TheythinkthatdevelopingrecipesforKoreanfoodisparticularlydifficultbecausechefsjustknowitanditishardtoquantifyeachingredientsamount.Thepandemichaschangedallthat.Eateryownersarenowopen-mindedtowardintroducingtechnologyinthekitchen,ShinsaidinarecentinterviewwithTheKoreaTimes.HiscompanylauncheditsfirstKoreanrestaurant,GongdoriKitchen,whichusesrobotstocookfood,inSeoullastAugust,andisplanningtoopenasecondandthirdrestaurantinAprilandMaythisyear.Morethanhalfofthefoodispreparedbythecompanysoriginalmachine,whichhelpstoreducestaffingcostsandincreasesprofits.ShinStarriswaitingtogetacertificatetoexportitscookingmachines.Koreaisnotaleaderinthefoodtechindustryglobally...Inordertoexpandourmarketsize,itisveryimportanttodevelopexcellentmachinesandmakedeliciousfoodwiththetechnologies.Expertssay,however,itisnecessaryforthegovernmenttoeaserelevantregulationssothatmorecompaniesandengineerscanmakecost-efficientmachinesandincreasethemarketsize.Inthepast,robotsweremadeforfactoriesanditwasimpossibleforartificialintelligencetosolveerrorsbackthen.ButnowthetechnologyhasadvancedandservicerobotshavebecomemorecommonThesizeoftherobotmarketwasscaleddownduetothevirus,however,IexpectthatmoreservicerobotswillbeseeninthemarketInordertodoso,Ihopethegovernmentwillderegulatetherobot-makingindustryattherighttime,SuhIl-hong,aprofessorattheDepartmentofElectronicEngineeringofHanyangUniversityrecentlytoldKBSinarecentinterview.

重慶貝名有限公司

公司Cyber-harassmentgettyimagesbankByParkJi-wonMoreadultsfacedcyberbullyinglastyear,withthreeoutof10beingeitheraperpetratororavictimofonlineviolence.AccordingtoarecentsurveybytheKoreaCommunicationsCommission,astate-runmediaregulatorybody,65.8percentofadultsexperiencedonlineviolencein2020―eitherbyattackingsomeoneorbeingattackedbysomeone―up11.1percentagepointsfromthepreviousyear.Thisthethirdconsecutiveannualincreaseisanincreasesince2018whenthefigurewas43.1percent.Thesurveywasconductedon7,458people,includingteenagersandadults,fromOct.6toNov.13.Onlineviolenceincludesverbalabuse,defamation,stalking,sexualabuse,personalinformationtheft,ostracization,blackmailandcoercion.Additionally92.4percentofadultswhoexperiencedonlineviolenceasavictimbecameanabuser.Whenaskedwhytheyabusedothers,30.8percentsaidtogetbackattheinitialabuser,while42percentsaidtheyfelttheyweredoingsomethingright.However,fewerteenagersexperiencedonlineviolence.Thesurveyshowedthat22.8percentofteenagershadsuchexperiences,down4.2percentagepointsoverthesameperiod.Meanwhile,32.7percentofallrespondentssaidthattheyexperiencedonlineviolencein2020,down0.8percentagepointfrom2019.Bytypeofonlineviolence,43.7percentofadultssaidtheyexperiencedverbalabuse,followedbystalking(42.3percent),sexualviolence(35.1percent),defamation(33.1percent),andpersonalinformationtheft(27.4percent).About29percentofadultssaidthattheyhadwitnessedsexcrimesonline,while5.7percentofteenagershad.Around16percentofteenagerssaiddigitalsexcrimeswerenotaproblem,comparedwith9percentofadultswhogavethesameresponse.重慶TwoPensiveBodhisattvastatues,NationalTreasureno.83,right,andNationalTreasureno.78,aredisplayedtogetherduringa2015BuddhistsculptureexhibitionattheNationalMuseumofKorea.ThemuseumwillopenanewpermanentgallerytodisplaythetwomajorartifactssidebysideinNovember.CourtesyofNationalMuseumofKoreaByKwonMee-yooThetwoPensiveBodhisattvastatuesfromtheThreeKingdomserainthecollectionoftheNationalMuseumofKorea(NMK)willbedisplayedsidebysideatanewgalleryspaceasthefaceofthemuseumfromNovember.PeoplevisittheLouvretolookattheMonaLisaandIbelievethatpeoplewillcometotheNMKtoseethetwoPensiveBodhisattva,MinByoung-chan,directorgeneralofNMK,saidduringapressconferenceannouncingthemuseumsannualplan,Wednesday.Min,anoldhandatthemuseum,saidthestatuesarecurrentlylocatedinthemuseumsBuddhistSculptureGalleryonthethirdfloorandareoftenmissedbyvisitorswhodonotscourthemuseumthoroughly.Ivebeeninchargeofthemuseumsoverseasexhibitionsforabout10years,andthesizeandqualityoftheexhibitwasdecidedbywhetherthePensiveBodhisattvacouldbeonshowornot.Thestatuesalsotopthemostmemorableartifactsinourvisitorsurveyeveryyear,Minsaid.MinsaidheresearchedallthePensiveBodhisattvastatuesaroundtheworldandamongsome40gilt-bronzetype,theonesinKoreaarelargeinsizeatabout1meterinheightandhaveserenesmilesandelegantbeauty.ThoughthePensiveBodhisattvastyleoriginatedinIndiaandwastransmittedtotheEastviatheSilkRoad,theKoreanonesareknownfortheirhighquality,hesaid.AsImadeexchangeswithcuratorsatforeignmuseums,manyofthempickthestatuesofPensiveBodhisattvaasthebestfromthecollectionattheNMK.Thestatuesareworthrepresentingthemuseumfortheirartistic,historicandreligiousvalues.MinByoung-chan,directorgeneraloftheNationalMuseumofKorea,speaksduringapressconference,Wednesday.CourtesyofNationalMuseumofKoreaCurrently,therearetwoPensiveBodhisattvastatuesinthemuseumscollection.NationalTreasureno.78,fromlate6thcentury,iswearingatallcrown,uniquelydecoratedwiththesunandmoon,whileNationalTreasureno.83,fromtheearly7thcentury,isadornedwithasimplercrown.Perfectlycastwithanelaboratetechnique,thefigurehasasimplebutbalancedbody,naturalthree-dimensionalcreasesintheclothing,andclearlyrenderedfacialfeatures,highlightedbyaserenesmile.Together,theseelementsgivethisreligioussculpturealookofsublimebeauty,themuseumdescribesNationalTreasureno.83.Despitetheirawarenessandpopularity,thetwostatuesweredisplayedtogetheronlytwicesincethemuseumsopeningatitscurrentYongsanvenuebackin2005.Thestate-runmuseumtypicallyexhibitedoneBodhisattvaatatimeinthepast,withtheotherexhibitedabroadorkeptinstorage.ThenewPensiveBodhisattvagallerywillbeinstalledonthesecondfloorneartheelevatorhall,wherethedonatedworksgalleryisnowlocated.ThisisoneofMinspledgestomakethemuseummorevisitor-friendlyinthepost-COVID-19world.Themuseumwillalsoexpanditschildrensmuseumandrenovatethedonationsgallery.Themuseumwillalsobreakgroundforascientificresearchcenterforculturalartifacts.Locatednorthofthecurrentmuseumbuildingandscheduledtobecompletedby2024,thecenteraimstoconductscientificanalysisandresearchon,andconserveandrestorethemuseumstreasurestocollectbigdata,whichwillbeusedtoappraisetheauthenticityofculturalproperties.MajorexhibitionsattheNMKthisyearincludeHomoSapiensfromMaytoSeptember,sheddinglightontheevolutionofarcheoanthropine;MonkCraftsmanfromJoseon(tentativetitle)fromDecembertoMarch2022,featuringsculpturesandpaintingscreatedbyBuddhistmonks;andTheBeautyofLacquerwarefromDecembertoMarch2022.ThemuseumalsoembracesdiverseculturesthroughexhibitionssuchasIconsandIdentities,showcasingmajorworksfromtheNationalPortraitGalleryinLondonfromApriltoAugust;andancientBronzeAgeartifactsfromtheShanghaiMuseumfromSeptembertoNovember.貝名CeramistSuhHee-suposeswithclay-coatedbandages,themainmaterialssheusestocreateheruniqueartwork,inherstudioinYongin,GyeonggiProvince,Jan.22./KoreaTimesphotobyChoiWon-sukByParkHan-solBandagescanoftenpushthestoryforward―inTVshows,moviesandsometimesinreallife―asadirectrepresentationoftheintensityoftheblood,painandagonyfeltbythevictim.Atthesametime,theyarepreciselywhatprotectsthosewoundsandinjuriesfromfurtherdamageasthefirststeptorecovery.ToceramistSuhHee-su,thiscaptivatingfabrichasbeenthemainmaterialofherpotteryworkfornearlythreedecades.Aftercoatingthebandageswithwetwhiteclayandlayeringthemtogethertomakeathickerband,shethenbends,twists,turnsandcutsthosepiecesintodifferentshapesandplacestheminakiln.Thefinalworkisbornwhenthefabricinsideisburntupandvanishesintothinair,onlyleavingtracesofitstextureonthepotteryssurface.Themostessentialmaterialofherworkmustdisappearforittobecompleted.Acomplexsetofreasonswasbehindtheuniqueincorporationofbandagesinherart,SuhexplainedduringarecentinterviewwithTheKoreaTimesascompositionsfromherhandpickedplaylistofclassicalmusicfilledherstudio.AslongasIcanremember,Ihavebeeninterestedinhumanpsychology,especiallyinthefeelingofanxietyandtherelationshipbetweentheunconsciousandtheconscious.Partofthatisinnate.Butitwasalsotheresultofstrictandauthoritarianparenting.Igrewupalwayssurroundedbythoughtsofrepressedfeelingsandanxiety.Shechosetoexpressthesenseofinsecurityanddisquietburiedinthesubconsciousthroughart.Whatfurthergaveshapetoherartisticdirectionwasthelife-alteringincidentthatoccurredwhenshewasstudyingabroadinNewYorkinhermid-20safterearninghermastersinceramicsdesignatHongikUniversity.Alreadyfeelinglonelyanddistressedinastrange,foreigncountry,sheencounteredthenewsofthesuddendeathofaclosefriend.Thebandage,withitsdirectvisualsymbolism,becameasuitablemediumtoletherfeelingsout.Italsoreflectedherdesiretoincorporateexperimentalelementsandchallengesintoherartinsteadofsettlingforsomethinggeneric.Theartisthappilyadmitsshehasbeenobsessivelyimmersedinusingbandagesashermainartisticmaterialforyears,andfindsitfascinatingthatevenwiththesameobject,herworkcontinuestochangedependingonherstateandemotionalmaturity.Inher20s,shewrappedscalpelsandoperatingscissorsinbandages,producingceramicsthatshowedamuchmoregrotesquevisualizationofheremotions,highlightedbytheredrustofthemetalcreatingableedingeffect.Throughoutthenextdecade,shefocusedlessonsuchimmediatesymbolsofpainandminimizedthespecificimagesassociatedwithanxiety.Instead,shetransformedthelayersofbandagesintobeautiful,colorfulvases.Nowinher40s,Suhworkswithbandagesmainlyintheformofinstallationart.Shehangsmultipleclay-coatedbandsonthelong,horizontallightbulbsandthroughthelightsbeamingfromthegapsbetweenthepieces,sheturnsthebandagesintosourcesofhealinglight.Becausethestoryandformofherworkundergoesconstantchange,sheisexcitedtoseewhereitwillleadhernext.Suhsvaseworksmadeofclay-coatedbandages/KoreaTimesphotobyChoiWon-sukSuhsUntitled(2020)ondisplayatGalleryDahaminAnsan,GyeonggiProvince,inJuly2020./CourtesyofKimJung-hanArtisthopesherworkstoberememberedonlyinmemoryAnotherareainherworkthatSuhrecentlybegantoconcentrateonreflectshernewfoundphilosophyandenlightenment.Firstisherenvironmentallyconsciousworkstyle.AmidtheCOVID-19pandemic,whentheimagesofnaturewithoutthetoxichumanpresenceemerged,shethoughtaboutwaysasanartisttoincorporatesuchissuesinherworkwhilemaintainingtheelementsofbandages.IsawhowmanymaterialsIdestroyed,consumedandthrewawayintheprocess.Ialsoincineratebandages.EventhoughIconsciouslychosethefabricofgood,environment-friendlyqualitythatdoesnotcontainnylonordioxin,toomuchcarbonwasemittedfromthekiln,sheexplained.WhatImtryingnowadaysistonotusethekilnatall.Instead,Idisplaytherawworks―clay-soakedbandageswithdriedupcracksandeverything.Becausetheclothisnotburnedup,aftertheexhibition,shecanthenwashitandre-useit.Anotherphilosophythatbegantotakeeffectinherceramicsistheartworkstranscendencefromthephysicalrealm.InherexhibitionheldinJulylastyearatGalleryDahaminAnsan,GyeonggiProvince,shedisplayedtheentireprocessofherrawclayworkinsideawatertankgraduallydissolvingawayintofinedust.SuhsUntitled(2020)/CourtesyofKimJung-hanNormally,artistswouldwanttheirworkstobedisplayedinfrontofpeopleandlastforever.ButIwantmyworktodisappear,ultimately,shesaid.CitingtheconceptoftranscendenceexploredbythepioneeringabstractartistKimWhan-ki,shediscussedherownversionandinterpretationofsuchelement.Ileavemyhouseeverymorningthinkingaboutdeath.WhenIclean,IcleanlikeImorganizingthearticlesandrelicsleftbymewhomaydietomorrow.Butthoughtsaboutdeatharentnecessarilybadsincetheymakelifeallthemoremeaningful.IfthepossibilityofdeathalwayssurroundsmeandIwanttotrulyfreemyselffromit,Iwouldwanttoadoptaperspectivethattranscendsphysicalexistence.Suhwantstoreflectsuchthoughtsinherwork.Justlikeherexistenceafterdeath,inwhichshewillbephysicallygonebutremaininotherpeoplesconsciousness,shewantsherworktodisappearfromthephysicalworldandsimplylastinviewersmemories.Thedesiretotranscendthephysicalrealmalsoledhertoexploredifferentartisticconcepts,especiallymedia,asitpresentstheideainanonconcreteform.Intheexhibitionlastyear,forthefirsttime,shedisplayedavideooffabricflutteringintheairinslowmotion.Idontwanttobedefinedinthefixedcategoryofceramist.Iwanttobeacreative,constantlyexploringnewmediaandoutlets.AsIhit30,40,andsoon50,Iseethatmychangesareceaseless,withmyperspectivesanddomainsofexpressiongrowingwiderandwider,eachdaySuhstated.Whenaskedaboutthedifficultiesofworkingwiththebandageasthebasematerial,sheimmediatelyburstintoanexhaustivelist.Itsrelativelyeasywhenworkingjustwiththeclay,buttheadditionoffabricchangeseverything,shesaid.Thesearchforgood-quality,environment-friendlyfabricwascertainlyalongone.Becausetheclay-coatedbandageissothin,ithasbrokennumeroustimes.Thismadeitnecessaryforhertomonitorthematerialforhourstogettheperfectlevelofsoliditywhileavailableforflexiblechanges.Evenwhentheshapingprocessiscompletedandtheclaybandsareinsidethekiln,itisfarfromcompletionastheycansimplyflopdownorendupsaggingliketaffycandy.Andthisrisklingerswitheverywork.Buttheprocessbroughtfundamentalchangestoherattitudenotjustinherworkstylebutalsoinlife.Iusedtobeveryimpatientandobsessive.ButasIseemymonths-longworkgoingintothekilnandcomingoutcompletelyuseless,itentirelychangedhowIlookedatthings.Itellmyself,Thatsokay.Icanfail.Imsureitwillbeeventuallyresolvedwithinayearorso.Suhsartworkinsideherstudio/KoreaTimesphotobyChoiWon-sukBecausethiscreativeprocessisforhertoexpressherownfeelingsandphilosophy,shedoesnotconsiderhowotherpeoplewouldinterpretit.Idontgiveoutalotofhints.Apersonwhoseemshappyandcheerfulhasdeepscarswithinwhenyoulookatherclosely.Itsthesamewithartwork.Ifsomeonewishestotrulyknowmyworkandmeasaperson,theywilllookatthemcloselytofindsubtletexturesofbandagesleftbehind.Ifnot,theywillsimplylookatthecheerfulsidewithvibrantcolorsandrhythms.Itsentirelyuptotheaudience.Throughoutherlife,besidesherworkasaceramist,Suhhasalsobeenactivelyinvolvedinotherareas,havingservedasauniversitylecturer,museumcuratorandarttherapistafterstudyingatChaUniversity.Artisalwaysatthebase,butIhaveavastamountofinterestindifferentfieldsaswell.PeopleaskmehowIcanbeinvolvedinsomanythings.Isleepverylittle.AndItakealotofvitamins,shesaid,smiling.WhatkeepsherbusiestnowadaysisherpositionasthecreativedirectorforanupcomingmediaexhibitioninMay.Fromasingleflowertotsunami-likewaterfalls,theexhibitexploresbothbigandsmallawe-inspiringelementswithinnature.Althoughtheeventwillnotfeatureherownwork,shehasdevelopedandworkedonitstheme,tentativelytitledTheGreatest,whichwillalloweachviewertocompletethephraseontheirown.Forme,thebandageisnolongeranindicationofpainandtorment.Itisanessentialmediumformyartandaningredientformyattempttoachievetranscendenceofthephysicalrealm.

重慶貝名有限公司

有限Sea,CranesandPeachescreatedinthelateJoseonera,andbelongingtothecollectionoftheDaytonArtInstituteintheU.S.,isonviewattheNationalPalaceMuseumofKoreaafterundergoingrestorationinKorea./CourtesyofCulturalHeritageAdministrationByKwonMee-yooSea,CranesandPeaches,afoldingscreenfromthelateJoseoneraandnowinthecollectionoftheDaytonArtInstituteinDayton,Ohio,willbeonpublicviewattheNationalPalaceMuseumofKoreaafterbeingrestoredinKorea.TheexhibitwasoriginallyscheduledtobeshownthroughJan.10,butithasbeenextendedtoFeb.10asthemuseumhadtoclosedownadayafteritsDec.4openingafterthenumberofCOVID-19casesspiked.ThepaintingwillreturntoitshomeintheU.S.inlateFebruaryaftertheextendedshowingheldincooperationwiththeOverseasKoreanCulturalHeritageFoundation(OKCHF).Thepainting,alsoknownasHaehakbandodoinKorean,wascreatedduringthelateJoseonera,aroundthelate19thcenturytoearly20thcentury.Itfeaturesimagesofthesea,cranesandpeaches―threeofthe10longevitysymbols,orsipjangsaeng,whichwerepopularintheroyalcourtattheendofthe1392-1910JoseonKingdom.Theimagessymbolizelongevityandembodyadesireforeternallife,especiallypeacheswhicharesaidtoripenevery3,000yearsaccordingtoChinesemythology.Imagesofthesea,cranes,andpeacheswereapopularthemeintheroyalcourt,includingroyalweddingsofthecrownprince.ThefoldingscreenpaintingintheDaytonArtInstitutescollectionisthelargestamongexistingworksofthatkindandalsoarareoneadornedwithgoldleafonthesilkpainting.ItwasexportedtotheU.S.inthe1920sandwasalteredintosixpanels.IthasbeendifficulttoproperlyappraiseKoreanworksofartthatareinthehandsofpeopleororganizationslocatedoverseasduetoashortageofexpertsadeptatpreservingKoreanartifacts.TheOKCHF,incooperationwiththeCulturalHeritageAdministration,triestoassesstheconditionofKoreanculturalheritageartifactsoutsidethecountryandprovidessupportintheirconservationandtreatment.Aspartofsuchefforts,the2.1meterby7.2meterfoldingscreenpaintingwasflowntoKoreaandbroughtbacktomintcondition,completewithgoldleaf,followinga16-monthrestorationprocess.TheDaytonArtInstitutehasabout70Koreanartifactsamongitsvastcollectionofover26,000objects.ThemuseumplanstorenovateitsKoreanGallery,withsupportfromtheNationalMuseumofKorea,andshowcasesome20Koreanculturalheritageartifacts,includingtherestoredSea,CranesandPeachesfoldingscreenpainting.PeterDoebler,curatoroftheDaytonArtInstitute,saidthepaintingwasdonatedtotheOhio-basedmuseumin1941byMaryMarvinBreckinridgePatterson.AccordingtoPatterson,thescreenwaspurchasedbyheruncleCharlesC.Goodrichinthelate1920s.Whenthepaintingcametothemuseum,itwasfirstidentifiedasJapaneseprobablyduetotheuseofgoldleafandperhapssomeofthesubjectmatterssuchascranes.However,in1958,thearthistorianShermanLeevisitedthemuseumandre-identifieditasChinese,16-17thcentury,Doeblersaid.ThescreenwasdisplayedintheAsianGallery,beforegoingintostoragefordecadesduetoissuesoveritscondition.In2017,KyotoInstituteofTechnologyprofessorMisatoIdoandSeoulNationalUniversitylecturerKimSoo-jinvisitedthemuseumtoseethepaintinginpersonaspartoftheirresearchprojectonscreenpaintingsacrossKorea,ChinaandJapanandattributedtheSea,CranesandPeachestoJoseonforseveralreasons.Theseincludeitslargesize,whichisovertwometersinheightandsevenmetersinwidth,theuseofsilkratherthanpaperasapaintingsurface,thethemeofthe10symbolsoflongevity,andthe12-screenformat,Doeblersaid.GoldleafsquaresusedforthispaintingarealsosmallerthanthosetypicallyfoundonJapanesescreens.KimarguedthatthispaintingissimilartoCranesandPeachesattheHonoluluMuseumofArt,whichisbelievedtohavebeencreatedbyroyalcourtcommissionin1902,andfurtherconsultationswithKoreanartexpertsledtotheconclusionthatSea,CranesandPeacheswasmostlikelycreatedaroundtheearly20thcenturyandwasrelatedtotheJoseonroyalcourt.DoeblerintroducedthepaintingatacolloquiumhostedbytheNationalMuseumofKoreain2018anddrewtheattentionoftheOKCHF,whichofferedaconservationgrantin2019.公司DeceasedsingersbroughtbackthroughtechnologyByParkHan-solIntheearly1990s,ChoiEun-soondidnotknowmuchaboutthesongsofKoreanfolkrocksingerKimKwang-seokdespitehisimmensepopularity.Now,attheageof51,sheoftenenjoyslisteningtohissentimentalmelodiesandpoeticlyrics.Withhimgoneforever,itwasheartbreakingtorealizethatIwouldneverbeabletolistentohisvoiceinperson.ButthefactthatIcanseehimandlistentohismusicthroughartificialintelligence(AI)technologybroughtbackallthosewonderfulfeelings,Choisaid.ForfanslikeChoi,holographicre-creationtechnologyisablessing.InDecember2020,cablemusicchannelMnetpresentedAI-generatedholographicperformancesofthelatesingersKimHyun-sik(1958-90)andTurtleman(1970-2008),whobothdiedtragicallyyoungintheir30s.ItwaspartofMnetsmusicprojectOneMoreTime.Thesamemonth,ahologramofrockerShinHae-chul(1968-2014)appearedonstagealongsideK-popstarsinBigHitLabels2021NewYearsEveLiveconcert.AtrailerforanSBSpilotprogramtitledMatchoftheCentury!AIvsHuman,scheduledforbroadcastJan.29,alsosurprisedfansastheclipstarredavirtuallyrenderedKimKwang-seok.Hologramsofcelebritieshavemadepublicappearancesinthepast,includingvirtualre-creationsofTupacShakurandMichaelJacksonwhichperformedatthe2012CoachellaValleyMusicandArtsFestivaland2014BillboardMusicAwards,respectively.However,thelatestAItechnologyallowsformorethansimplereenactmentofpastrecitals.Themusiciansimageandvoicecanberecreated,whichmeanstheAI-renderedsingerscanperformotherartistssongsregardlessofwhentheywerereleased.ThisallowedthehologramofKimHyun-siktoperformParkJin-youngsBehindYou(1994)andKimKwang-seokshologramtosingKimBum-soosIMissYou(2002).Assuchadvancedtechnologyseepsintothefieldofmusic,someexpertshaveexpressedtheirbeliefthattherearepotentialbenefitsforpopculture.Buttheyalsoadvisecaution.MusiccriticLimJin-morecognizedthecontributionsAIcanmakeintermsoftechnologyandmusicalarrangement.Itcanhelpusbetterdetectplagiarismbyprovidinguswithcrediblestatisticalresultsregardingcontentsimilarity.Itcanalsoaidtheprocessofestablishingaframeworkforcompositionsandmusicalarrangements,hesaid.ThequestionofethicsinevitablyemergesaspeoplecontemplatehowdigitallyresurrectingthedeadthroughAItechnologyforthebenefitofpopularculturecanaffectthevalueofhumandignityandemotion.Lastmonth,theMinistryofScienceandICTannouncedforthefirsttimeethicalstandardsforAIdevelopmentthatplacevalueonhumandignityandpublicinterest.LimstressedthattheAI-renderedsongs―aresultoftheinputofanextensiveamountofdatatogetthebestaverageofrhythmandmelody―cannottrulybearthequalityandvalueofmusiccreatedbypeople.Musicislikeawarmshakingofsomeoneshandorabreaththatpeoplesharewitheachother.Andbecausethesamesongreleasedin1969and2019canhaveavastlydifferentpublicreception,musicshouldconsciouslyreflectthepeopleandtheatmosphereofthatparticularera,hesaid.Iwanttoseeasingingman,notasingingmachine.PopmusiccommentatorSeoJeongMin-gapvoicedconcernsthattheindustryiscommercializingpublicnostalgiabyturningthedeadintoproducts.Somethingsarebetterleftbehind,buriedandkeptinourmemory.IfwekeeprevivingthestarsthroughAI,thentheydontgettohaveclosure.Itslikeaddingpreservative.Andthefeelingoflongingandnostalgiaisonlypossiblewhenthereremainsatleastsomedistance,butuseofsuchtechnologymayexhaustthatsentiment,hetoldTheKoreaTimes.Healsourgedcontemplatingandfocusingmoreontheprocessofobtainingtheconsentofthebereavedfamilies.Thefamilymembersmayfeelgoodandmovedtoseetheperformersonstageagain,butitcanalsobeemotionallyburdensomefortheminthelongterm.Itspossibleitcouldbecometoomuchforthemtohandle.Theresponsibility,therefore,shouldliewiththeproducersandbroadcasterstoeffectivelymanagetheprocess.Otherexpertspointedouttheadvantagesanddisadvantagesofre-creativeholographictechnology.Withsuchtechnology,producingimmersiveandrealisticcontentwillbemuchmorefeasible.Alsoussimilartechnology,actorscanberenderedwholookjustliketheoriginalswillbeabletopartakeinstuntsforspecialeffectsorimaginaryscenesthatcannotbedonebyrealpeople,saidJeonChang-bae,chairmanoftheKoreaArtificialIntelligenceEthicsAssociation(KAIEA).Atthesametime,hecautionedagainstindiscriminatemanipulationasthesametechnologycouldbemarriedtothatusedtocreatedeepfakematerial―specificallytobeusedforfraud,ortheproductionofpornvideosthatpurporttofeaturewellknownstars.Ifthetechnologybecomesmainstreamandthenumberofvirtuallyrenderedpeopleincreasesrapidly,itcouldalsomakeitdifficulttoconfirmthetrueidentityoftheindividual,especiallyforthesectorsthatrequirecertification,includingbankingandvoting,heexplained.IntermsofenactingpolicyregardingAItechnology,LeeHee-dae,professorofmediaandcommunicationatKwangwoonUniversity,calledforflexiblelegalinterpretationandtheestablishmentofsocialconsent.Eachtimenewtechnologybecomescommercialized,itisoftenthecasewheretheexistinglaworregulationsarenotuptopartohandlesuchissues,hesaid.Iftheyattempttoregulateeachindividualincidentthatoccursasaresultoftheparticulartechnology,thenwhensomethingelsetakesplace,theyhavetocomeupwithyetanotherlaw,andsoon.Therefore,theyinsteadneedtofocusonestablishingabiggerpictureandsocialconsentandexpandingthelegalinterpretationtoflexiblydealwithsuchissues.

重慶貝名有限公司

重慶TheMarianaIslandshavebeautifulandbiodiversecoralreefsthatprovideexcellentrecreationaldivingandsnorkelingopportunities./CourtesyofMarianasVisitorsAuthorityKoreaByJunJi-hyeTheprolongedglobalCOVID-19outbreakhasledtosocialdistancing,forcingpeopletorefrainfromgoingoutandreducingface-to-facemeetings.Thishasbroughtalotofchangestopeoplesdailylife,andtravelisnoexception.Aspeoplehaveputmoreimportanceonsafety,healthandcontactlessactivitieswhendecidingwheretogoonvacation,theyhavepaidmoreattentiontotraveltorefreshtheirtiredbodiesandmindsinnaturewithfamilyorcloseacquaintances,ortravelpursuingalifestyleofwellness.AccordingtoatravelbehaviorandplanningsurveyissuedlastSeptemberbyConsumerInsight,atravelresearchagency,travelforthepurposeofenjoyingnaturalsceneryandrelaxingincreasedfrom42percentinJanuaryto52percentinJulylastyear.Inlinewiththesechanges,theMarianasVisitorsAuthority(MVA)Koreaintroducednature-friendlyactivitiesthatcanbeenjoyedintheMarianaIslandswithminimalcontact,whileenjoyingthenaturalenvironmentoftheMarianasfromtheskytothesea.TheMarianasconsistsof15islandsincludingSaipan,TinianandRota.TheislandshavebeenespeciallypopularamongKoreantravelersasthedestinationscanbereachedwithinfourhoursbyplane.DiveintounderwateruniverseAccordingtotheGuinnessBookofRecords,Saipanhastheworldsmostequabletemperature,averaging27degreesCelsiusyear-round,allowingtouriststoenjoythemildtropicalclimate.Thestabletemperatureandfreshseabreezemakedivingtripsmorecomfortable,andmostofthedivepointsareclosetotheisland.Touristscanenjoytheuniqueterrainaswellascolorfulunderwaterworldswithbeautifulcoralreefsandtropicalfish.Inparticular,KoreantouristscantakedivinglessonswithinstructioninKorean,makingiteasyforbeginnerstodiveintothebeautifulwatersoftheMarianas.Saipansmostpopulardivesite,TheGrotto,whichisconsideredoneofthetop10divingspotsintheworld,isahugelimestonecavewherediverscanenjoybothsnorkelinganddiving.Inaddition,TinianGrotto,themostpopularcaverndiveinTinian,hasthreemainentrypointsintothecavernandboastsafantasticwatercolor.OnRotaIsland,alongthewaytoSenhanonCaveknownasRotaHole,peoplewillseevariousbeautifulandmagnificentviews,andmysteriousbeamsoflightfilteringthroughthedepths.SnorkelingincrystalclearoceanTheMarianashassomeofthemostbeautifulandbiodiversecoralreefsintheworld,providingexcellentrecreationaldivingandsnorkelingopportunities.ThewatersoftheMarianasofferexceptionalunderwatervisibilityinadditiontoyear-roundwarmwatertemperatures.Fromwhitesandybeachestovibrantcoralreefs,avarietyofunderwaterscenerywithhundredsofmarinespeciescanbeexplored.AmaritimeheritagetrailinSaipanalsoofferstheuniqueopportunitytoexplorehistoricalrelicsfromWorldWarII.OnRota,itisrecommendedtoexploreTetetoBeach,CoralGardenorGuataBeach.EnchantingStargazingTheMarianasisoneofthebestplacesforstargazingtoenjoythebeautyofstarlight./CourtesyofMarianasVisitorsAuthorityKoreaTheMarianaswithitspristinenatureisawonderfulplaceforstargazing.Thegoodclimatealsoaffordslotsofnightswithclearskies.AllthemajorguidingstarssuchasArcturus,Altair,Sirius,DenebandRegulusappearinplainsight.LookingupatthebeautyofthenightskyontheMarianaswillenchanttourists.Stargazingisnotonlyentertainingbutisalsoeducational,especiallyforchildrenwhocanwatchandlearnaboutmeteorshowers.GreatplacestoenjoystargazingincludeBanzaiCliffonSaipan,TagaBeachonTininanandPoniyaPointonRota.ThrillingATVtourTouristscanenjoyoff-roaddrivingwithATVsinjungle,beacheandgreenfieldareaoftheMarianas./CourtesyofMarianasVisitorsAuthorityKoreaIntheMarianaIslandsthatarerichinjungles,beachesandgreenfields,touristscanenjoystunningviewswhiledrivingoff-roadonall-terrainvehicles(ATV).AdventureloverscantakeanATVridearoundtheunpavedroadsorjungles,andbreatheinthespectacularoceanviewsfromMountTapochauthatoffersa360-degreeviewoftheentireislandofSaipanaswellasManagahaIslandwhilemovingthroughthegreenhills.ATVsdonotrequirealicenseforoperation.ATVsareavailableinTinianandRotaaswell,allowingtouriststoexperiencebeachesandjungleareaswherethenaturalbeautyoftheislandsisbestpreserved.TheMarianasofficiallyallowsforeignnationalstoenteramidthepandemic,butallvisitors,includingKoreans,arerequiredtocomplywithseveralmandatoryrequirementsincludingafive-dayself-isolationperiod.MoreinformationcanbefoundontheMVAwebsite.TheMVAsaiditiscurrentlytakingadvantageofthelullinvisitorarrivalsbyjoininghandswithpublicandprivatesectorpartnersingivingmajortouristsitesintheMarianasafaceliftinordertostrengthensafetyandpracticegoodhygienesoastoaccommodatetravelersinasaferenvironment.ItaddedthegovernmentoftheCommonwealthoftheNorthernMarianaIslandshasmobilizedeverypossiblemeanstopreventthevirusspreadingintheMarianas,whichhasapopulationof58,000,includingtheimportof60,000COVID-19diagnostickitsfromKorealastApril.

貝名gettyimagesbankByParkHan-solTheyear2020,throughoutwhichresidentsinKoreawereinundatedwithdailyupdatesaboutthechangingnumberofCOVID-19cases,wasaperiodofuncertaintyandconfusion.Althoughrelianceonaccurateinformationaboutthepandemicprovedtobemorecrucialthanever,thepublicremainslargelydistrustfulofnewsmedia,apollshowedFriday.Whenaskedabouttheroleofthepressasaproviderofinformationinregardstotheissuesdirectlyrelatedtothelifeandsafetyofthepublicintheageofthecoronavirus,62%ofrespondentssaidtheyhavenotmuchtrustinthemediaornoneatall.Meanwhile,only34%respondedthattheyhaveafairamountoragreatdealoftrustintheirreporting.Thenationwidesurveyof1,000adultsover18yearsofagewasjointlyconductedbyMediaToday,anoutletdedicatedtoreviewingjournalisticreportingpractices,andthepollsterResearchViewfromDec.28to31.Thenumbersofthosewhoexpresseddistrustinthenewsmediawereallhigherthanthosewhotrustednews,regardlessofagegroupandpoliticalinclination.Thoughpeopleintheir30s(70percentofdistrustversus27percentoftrust)and40s(67percentversus29percent)hadthestrongestdistrustofnewsmedia.Inregardstothepublicstrustinspecificnewsoutlets,bothterrestrialandcable,theincreaseintrustofconservativecablenetworks,especiallythatofTVChosun,wasnoteworthy.ComparedtothepollconductedlastApril,peoplewhotrustedTVChosunrose6percentagepoints,whileChannelAandMBNalsoexperienceda1percentagepointgrowth,makingTVChosunthenetworkwiththehighestleveloftrustamongallsevennewschannelsforthefirsttime(withinthepollingsmarginoferror).Ontheotherhand,allthreeterrestrialbroadcasterssawadecline,withKBSexperiencingthebiggestdropof4percentagepoints.YuHyun-jae,professorofcommunicationsatSogangUniversity,stressedthatthepublicsgrowingdistrustinmassmediaisnotanewphenomenon,butaresultoftheeachoutletspartisancharacteristics.Newsconsumersarenowtrainedtorealizehoweachoutletwilldifferinhandlinganddeliveringfactsaccordingtotheirpartisanviews,hetoldTheKoreaTimes.Seeinghowthenewsagenciesarehavingafeudwithoneanother,readersbecomefatigued,leadingtotheirskepticismofmediaingeneral.Thisresultsinmoreconsumerslookingforalternativestotraditionalnewsoutlets,includingYouTubevideos,Yuexplained.HeaddedthateventhoughtheCOVID-19isanunprecedented,world-changingcaserequiringgenuineexpertstoprovideaccurateinformation,journalistsarelimitedintheircapabilitiestodiscoverpropersources.Oftentimes,reportersseecertainexpertsgettingrecognitiononothermediaplatforms,andbasedonthatpublicityalone,theyendupconsultingthesameindividual,eveniftheyarenotarealexpertinthatfield.Itcanbecomeaviciouscycle.有限Aposterfortheexhibition,Korea:CubicallyImagined/CourtesyofKOCCAByKwakYeon-sooKorea:CubicallyImagined,animmersiveexhibitionthatoffersaglimpseintothefilmsetoftheOscar-winningfilmParasiteandBTSsconcertstage,willbeheldatUNESCOHeadquartersinParis.Co-hostedbyUNESCOandtheMinistryofCulture,SportsandTourism,theexhibitionwillallowvisitorstoengageinavirtualrealityexperiencewhileexploringKoreascontemporaryculture.ThepurposeoftheeventistocelebratetheU.N.-designatedinternationalyearofthecreativeeconomyandmarkthe71stanniversaryofKoreasaccessiontoUNESCO,accordingtotheKoreaCreativeContentAgency(KOCCA).Theexhibitionwillbedividedintothreesections―theKoreanWave,ArtandCulturalHeritageandStudio.Thefirstpartwillpresentanimmersiveextendedreality(XR)experiencethatenablesvisitorstouseVRgearandstandbeforeathree-wallLEDstagetoexplorethebackgroundsofBTSsDopeandDNAmusicvideos.Parasitewillalsobepresentedinasimilarsettinginsideacube,inwhichvisitorscanuseVRdevicestovisitthefilmsmemorablesets,includingthewealthyParkfamilyslivingroomandthepoorKimfamilyshalf-basementflat.ThesecondpartwillprovidespacetoexploreKoreashistory,language,traditionalmusicandperformances.TheRoyalProcessionwiththePeopleaswellasotherpiecesofculturalheritagewillalsobeondisplay,reimaginedfromtheNationalMuseumofKoreausingthelatestimmersivetechnology.Thethirdsectionoftheexhibitwillshowcasethecountrysiconicimmersivecontent.Forinstance,theSeoul-basedspatialUXdesigncompanydstrictwillpresentiterationsofBeach,WaveandFlower.ErnestoOttoneRamirez,UNESCOsassistantdirector-generalforculture,saidtheexhibitionwillshowtheimportanceofcultureandcreativityforsustainabledevelopmentintheCOVID-19era.Duringtheclosingspeechatthe8thConferenceofPartiestothe2005ConventionontheProtectionandPromotionoftheDiversityofCulturalExpressions,hesaidthattheVRexhibitionofParasiteandBTSsconcertwillconnectwithviewersaroundtheworldandcommemoratetheInternationalYearofCreativeEconomy.Wehopeourimmersivecontent,whichcaptureimaginationfromfilms,musicandcontemporaryart,willprovidecomfortandhopetopeoplearoundtheworldwhoareexperiencingunprecedentedchallengesduetoCOVID-19,aKOCCAofficialsaid.TheexhibitionwillrunfromJuly6to16atUNESCOHeadquartersinParis,andwillreopenattheKoreanCultureCenterinParisonJuly20foramonth.Reservationsforin-personvisitswillbeavailableonthewebsitestartingJune14.

公司KimHyun-mo,headoftheCulturalHeritageAdministration(CHA)speaksduringapressconferenceheldtopromoteitsflagshipVisitKoreanHeritageCampaigntopromoteculturalassets,atKoreaHouseinSeoul,Friday.YonhapByParkJi-wonThegovernmentstwo-year-oldVisitKoreanHeritageCampaignpromotingculturalassetswillbeexpandedasapreemptivemeasurefortherecoveryofinternationaltourismtoKoreaaftertheCOVID-19pandemic.HostedbytheCulturalHeritageFoundationandrunbytheCulturalHeritageAdministration(CHA),thecampaignaimstoattract20millionforeigntouriststoKoreaperyearandvitalizethevisitationofculturalassetsandthusregionaltourismacrossthecountry.Itwillintroduceupto10touristdestinationspairedwithvariousculturalassetsthroughoutthenation,aswellasvariousonlinecontent,physicalexhibitionsandeventsthroughouttheyear.ItislargelyexpectedthatforeigntouristswillbevisitingKoreafromthestartofnextyear.ThisyearwewillfocusonpreparationofthecampaignfornextyearsvisitationWeareplanningtosetupaspacewhereforeigntouristscanuseARandVRdevicestogetvariousinformationaboutKoreanculturalassetsandtourismroutesatIncheonInternationalAirport,departmentchiefKimKi-samsaidduringapressconferenceheldatKoreaHouse,Friday.Thegovernmentorganizationslaunchedthecampaignwithsevenheritageroutesin2020,buttheoutbreakoftheinfectiousdiseaselastyeargotintheway.Lastyear,seventourismcoursesweremadetopromoteculturalassetsandtouristsites.TheylargelyexplorethehistoryofancientkingdomssuchasSilla,BaekjeandJoseonaswellasprehistoricsites,theironageandJejuIsland.Inadditiontotheintroductionofuniquetouristsites,theorganizationsarepushingtopromoteKoreantraditionalcultureinvariouscitiesaroundtheworld.KoreainFashionHanbok,apromotionalvideobytheKoreaCulturalHeritageFoundation(CHF)isbeingdisplayedonanelectronicbillboardatTimesSquareinNewYork,Thursdaylocaltime.CourtesyofCHFForexample,promotionalvideospresentingtraditionalhanbokclothes,Koreanfood,HangeulandKoreanarchitecturewerereleasedandwillbereleasedinNewYork,London,Sydney,BangkokandCapeTownwhilebeingreleasedonmultiplesocialmediaplatforms.ThesecondvideoofthepromotionalfashionfilmseriesKoreainFashionHanbok,whichrevolvesaroundanimaginaryprincessinhanbokbytheKoreaCulturalHeritageFoundation(CHF)wasreleasedatTimesSquareinNewYork,Thursday,localtime.ThereasonwhywereleasedthevideoinTimesSquareistotakeadvantageofthecurrentsituation,thatChinahasbeenrunningso-calledtheNortheastProject,ChinasambitiontoincludeKoreancultureasitsownanddistorthistorysincetheendoflastyearsothatitcouldpromoteourtraditionalculturethroughouttheworld,saidSeoKyoung-duk,professorofSungshinWomensUniversity.Aspartofthecampaign,thesecondroundoftheRoyalCultureFestivalwillpresentvariousphysicalandonlineeventsthemedwithpalace,atthefivemainpalacesinSeoulandonlineplatforms,followingthefirstroundofitsprograminMay.Itisthefirsttimefortheeventtobeheldtwotimesinayear.ThecountrywillalsorunanationalpavilionduringtheDubaiExpowhichisexpectedtostartinOctober.Mediaartexhibitionswillbealsoheldinfivecities,presentingmediaartonculturalheritagesuchasIksanMireuksajiinNorthJeollaProvince,wherethereisanancientstonepagodathatwasbuiltin639duringtheruleofKingMu.KoreaonStage,ashowperformedbyvariousartistsinGwanghallu,aUNESCO-designatedsiteinNamwon,SouthJeollaProvince,willbepresentedinAugustandOctober.重慶MiddleschoolstudentsofChristCollegeinHongKongparticipateintheKoreaTourismOrganizationsDigitalSchoolTourtoKoreaprogramattheirschool,April15.CourtesyofKoreaTourismOrganizationByJunJi-hyeAprogramofferingvirtualschooltourstoKorea,operatedbytheKoreaTourismOrganization(KTO),hasbecomepopularinHongKong,TaiwanandJapan.TheKTOsaiditsDigitalSchoolTourtoKoreaprogram,whichwasdesignedinresponsetotheprolongedCOVID-19pandemic,enablesstudentsinothercountriestointeractwithKoreanstudentsviavideoconferencingandvirtuallyexperienceKoreanfood,K-popandtouristattractionsinthecountry.SincetheorganizationsHongKongbranchbegantheprogramonApril15,targeting120middleschoolstudentsofChristCollege,theprogramhasbeendrawingattentionfromotherschools.Some20schoolsinHongKonghavesinceappliedfortheprogramfortheir3,900students.Thenumberishigherthanthe3,209studentstherewhovisitedKoreain2019beforetheCOVID-19pandemicstarted.InTaiwan,KaohsiungGirlsSeniorHighSchoolbecamethefirsttoparticipateintheprograminMay.TheKTOsaidsome400Taiwanesestudentsareexpectedtoparticipateintheprogramannually.TheprogramwillbegininJapaninJulytargeting1,200students.TheKTOsaidtheprogramwillofferawiderrangeofcontentafterreviewingtherequestsmadebyeachschool.WehopeourDigitalSchoolTourtoKoreaprogramwillleadtoarecoveryininternationalinteractionsbetweenstudentsthatwerealmostsuspendedduetothepandemic,saidKimYong-jae,whoheadtheKTOsNortheastAsiateam.Throughtheprogram,wealsoexpectKoreatobecomeamorepopularschooltripdestinationafterthepublichealthcrisiscomestoanend.

貝名Farmer-artistHwangDae-kwon/KoreaTimesfileByParkHan-solToHwangDae-kwon,wildgrassesandflowersaremuchmorethanjustpeskyweedsthatdonteverseemtogoaway.Infact,thesenamelessplantspersistentexistenceiswhatgothimthroughhismorethandecade-longprisonstayafterhewaswrongfullyconvicted.AseriesofwatercolorpaintingsofthewildplantshesketchedwithintheconfinesofhisowncellisintroducedtothepublicforthefirsttimethroughtheexhibitionGrass,atProjectSpaceMiuminSeoul.AftermajoringinagricultureatSeoulNationalUniversity,HwangwentontostudypoliticalscienceinNewYorkintheearly1980s.In1985,theauthoritarianChunDoo-hwanadministrationbeganpersecutingdozensofstudentsstudyingabroad.ThegovernmentfalselyaccusedhimandothersofespionageforNorthKorea,sentencinghimtolifeimprisonmentwithoutanyhardevidence.HwangwasreleasedwiththehelpofAmnestyInternational,afterserving13yearsinprison.However,itwasntuntilFebruary2020thathewasfoundinnocentinaretrial.Whileinprison,hewasarebelliousinmateinitially,staginghungerstrikesandconstantlyfightingwithguards.Afterfiveyears,herealizedthathishealthwasdeterioratingatanoticeablerate.Backthen,manyprisonslackedpropermedicalstaffandhealthcareinfrastructure.Hwangdecidedtoresorttonaturalremedieswithherbstotreathimself.HefoundthoseherbsintheyardoftheAndongCorrectionalInstitution,wherehewasimprisoned.Theprisonyardissupposedtobeagrass-freespace,sincetheconvictsareorderedtosweepandcleaniteveryday,hesaidduringarecentartisttalksessionheldatthegallery.Butdespitethedailycleaning,tomysurprise,Iwouldalwayscomeacrossstemsofwildgrassesgrowingintheharshlandandcracksofthewalls.Iwasmovedbytheirtenaciousgriponlife.Hepersuadedthewardentoallowhimtotransplantthewildflowersandturnasmallcorneroftheyardintohisownflowerbed.Thewildplantsbecamehisonlymeansofenduringtherealityofhisstolenyouth.AsIgrew,ateandobservedthegrasses,Isawmywholeoutlookontheworldandlifechanging.Theyweremysavior,healerandteacherthatintroducedmetothenewworld.HwangDae-kwonsBaikalSkullcap,left,andIndianLettuce(1994)/CourtesyofProjectSpaceMiumHiswildflowergardenalsoreignitedhislong-heldpassionforthearts.Althoughhestudiedagricultureincollege,herememberedthemomentswhenthosearoundhimwhorecognizedhistalentssuggestedheenrollinacollegeoffineart.Eventually,heagainconvincedtheprisonwardentolethimpaintthewildflowershecultivatedwithbasicwatercolorsandaMonamiballpointpen,theonlykindofpenthatwasallowed.Thesewerentjustpaintings.TheywerecreationsmadewhileIwasstandingatthecrossroadsoflifeanddeath.Iwasabouttogocrazy,havingtospendtherestofmylifeina2.5-square-metercellblock.AndtheseworksweredonejustsoIthatIcouldstaysaneandsurvive.Theycametoencapsulateeverylittlepartofmylife.HwangcurrentlyworksasafarmerandenvironmentalactivistinYeonggwangCounty,SouthJeollaProvince.HeisalsotheauthorofTheWildflowerLetters,whichsoldmorethanamillioncopiesinKoreain2002.TheexhibitionGrassrunsuntilJuly3atProjectSpaceMium.有限Sayuriandherson,Zen/KoreaTimesfileSayuri,aJapaneseTVpersonalitywholivesinSeoul,startsherdaybefore4a.m.whenherfivemonth-oldbabywakesup.Shehastoskipherownbreakfastassheisoccupiedfeedingandcomfortingherchild.Anunmarriedwomanwhochosetobeasinglemother,Sayurigavebirthtoherson,Zen,throughartificialinsemination.HerdayandnightstrugglehasbeenbroadcastonKBSeverySundaysinceearlyMayonthepopularchild-rearingrealityshowTheReturnofSuperman.Thoughherday-to-dayroutinewiththebabyseemsnodifferentfromthoseofothermembersofSuperman,herappearanceontheshowhasgarneredattentionforbeingthefirstopendepictionofthelifeofasinglemotherontheprogramthatlaunchedin2013.IthinkIhavetolovehimmuchmorethanothermomsdo,shesaidduringtheshow.Ihopehedoesntfeellonelyorwantsomethingmore,evenwithouthisfather.LastNovember,theJapaneseactressandwriter,whostartedherentertainmentcareerinKoreawiththepopularGlobalTalkShowin2007,revealedonhersocialmediathatshehadbecomeamothertoasonbyusingaspermbankinJapan.Shesaidshemadethedecisionasshedidnothavemuchtimetohaveababybecauseofanovariandisease.Ihadonlytwochoicesleftatthattime,immediatelymarryingamanwhoIdidntloveandhavingatest-tubebaby,orhavingandrearingachildallbymyself,shewasquotedassayinginaninterviewwithKBSinNovember.Icouldntchoosethefirstone.The41yearold,whodecidedtotaketheunconventionalpath,hadtotraveltoJapanbecauseitisnearlyimpossibleforanunmarriedwomantohaveatest-tubebabyoradoptachildinSouthKorea.AguidelinebytheKoreanSocietyofObstetricsandGynecologyallowsdoctorstocarryoutartificialinseminationonlytolegallymarriedcouples,sothatasinglewomancannotundertakeinvitrofertilization.Iknowitisimportantforakidtohaveadad,butitisalsoimportanttoembraceothercases,shesaid.Ilovemydog.MydogandIarenotconnectedbyblood,butwereafamilyaswespendalotoftimetogether.SayuriscaseseemsemblematicofthedecadeslongweakeningoftraditionalformsoffamilyinSouthKorea,whereConfucianismhasdominatedeverydaylifeforhundredsofyears.Someconservativesclaimthatherchoicetobecomeasinglemothercouldunderminetheproperconceptoffamilyandencourageformsoffamilythatdeviatefromthenormalcourseofmarriageandchildbirth.Butcivilsocietyhasgonealongfortheride,sayingthatitisthetimetochangethesocialconceptoffamilyandembracediversity.RecentstatisticsshowthatanincreasingnumberofSouthKoreansareforegoingmarriageandchildbearing.Accordingtogovernmentdata,theportionofhouseholdscomposedofparentsandunmarriedchildrendecreasedto29.8percentin2019from37percentin2010.Instead,newtypesoffamilies,suchasone-personhouseholds,haveincreasedto30.2percentfrom23.89percentoverthecitedperiod.ThenumberofcouplestyingtheknotinSouthKoreareachedanall-timelowof214,000in2020.Itwas326,000in2010.Andthenumberofnew-bornbabieshasbeensharplydecreasing,withthecountrystotalbirthratehittingarecordlowof0.84lastyear.Moreover,agrowingnumberofyoungpeoplethinkmarriageisunnecessary.Arecentsurveyshowedthat60.9percentofthoseagedfrom13-24saidtheydonotthinkmarriageisnecessary,upfrom49percenttalliedinthepreviouspollcarriedoutin2017.Againstthisbackdrop,theSouthKoreangovernmentunveileditslong-termpolicyplantoexpandthelegaldefinitionoffamilytorecognizeunmarriedcouplescohabiting,fosterfamiliesandsingle-memberhouseholds.Underthecurrentfamily-relatedlaws,onlyunitsformedbymarriage,bloodandadoptionareapprovedasfamily,whichiseligibleforsocialwelfarebenefitsandlegalprotection.Atthesametime,thegovernmentwillalsodiscusswhethertoallowaccesstospermdonationforunmarriedwomen,afterconductingapublicopinionsurvey.Localcivicgroupssupportedthegovernmentsmovetoencompasspeopleoutsideofwedlockandkeepupwithevolvingsocialnorms.Wewelcomethechangeingovernmentspolicytorecognizevariousformsoffamilyforthesakeofindividualrights,theSeoul-basedKoreaWomensAssociationsUnitedsaidinastatement.Genderequality,diversifiedfamilyandprotectionoftheindividualrightsofeachfamilymemberarethedemandsofourtime.(Yonhap)

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