Utility of Digital Technologies for the Sustainability of Intangible Cultural Heritage (ICH) in Korea †
Abstract
:1. Introduction
2. Theoretical Background
2.1. Intangible Cultural Heritage (ICH)
The ‘intangible cultural heritage’ means the practices, representations, expressions, knowledge, skills—as well as the instruments, objects, artefacts and cultural spaces associated therewith—that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity. … compatible with existing international human rights instruments, as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development.[3]
Among intangible cultural heritage which has been passed on throughout many generations, referring to those falling under any of the following items: traditional performing arts and arts; traditional skills concerning crafts, art, etc.; traditional knowledge concerning Korean medicine, agriculture, fishery, etc.; oral traditions and expressions; traditional ways of life concerning food, clothing, shelter, etc.; social rituals such as folk religion; traditional games, festivals, and practical and martial arts.[24]
2.2. Museums and ICH
2.3. Museums and Digital Technologies
2.4. VR Exhibition on ICH
3. Proposal on ICH Exhibition Utilising VR Technologies
3.1. Jultagi
3.2. Daemokjang, Traditional Wooden Architecture
4. Conclusions
5. Discussion
- (1)
- Questions on “educational effects” are to see whether the programme is effective in teaching the general public by giving relevant information about Jultagi and ICH in general.
- (1-1)
- Do you think the programme rightly included explanations on what Jultagi and ICH in general are?
- (1-2)
- Do you think now you know more about Jultagi and about ICH in general after trying the programme?
- (1-3)
- Did the programme explain the importance of preserving ICH in detail?
- (1-4)
- Do you agree with the importance of preserving ICH as explained in the programme?
- (1-5)
- Would you recommend your friend to try this programme in order to learn about Jultagi and ICH in general?
- (2)
- Questions on “technical effects” are to see whether technologies are properly applied on the programme and are helpful to enhance its educational effect.
- (2-1)
- Was VR technology helpful in understanding what Jultagi and ICH in general are?
- (2-2)
- Did the technologies encourage you to get interested and involved in Jultagi and ICH in general?
- (2-3)
- Do you think the VR programme on Jultagi is helpful if you actually try Jultagi in reality?
- (2-4)
- Do you think the technologies were properly used to make the virtual environment feel like reality?
- (2-5)
- What are the strengths and weaknesses of the VR programme on Jultagi when compared to the actual Jultagi training led by living human treasure in reality?
- (3)
- Questions on “inducing effects” are to see whether this pre-level participatory programme encourages actual education of transmission run by living human treasure in reality.
- (3-1)
- Do you think this programme give people a taste of what Jultagi and ICH is?
- (3-2)
- Do you think this programme would encourage people to get more interested in Jultagi and ICH in general?
- (3-3)
- Are you more interested in exploring ICH yourself now compared to before?
- (3-4)
- Do you have plans to participate in experiential programme run by the living human treasure?
- (3-5)
- Do you have plans to get actual transmission training to be a successor?
Author Contributions
Funding
Conflicts of Interest
References
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Category | Total | Examples | |
---|---|---|---|
a | Traditional performing arts and arts | 46 | Jongmyo Jaeryeak (1964), Yangju Byeolsandae Nori (1964), Pansori (1964) |
b | Traditional skills concerning crafts, art, etc. | 53 | Gatil (1964), Najeonjang (1966), Hansan Mosijjagi (1967) |
c | Traditional knowledge concerning Korean medicine, agriculture, fisheries | - | - |
d | Oral traditions and expressions | - | - |
e | Traditional ways of life concerning food, clothing, shelter, etc. | 7 | Joseon Wangjo Gungjung Eumsik (1970), Munbaeju (1986), Myeoncheondugyeonju (1986), Gyeongju Gyodong Beopju (1986) |
f | Social rituals such as folk religion | 18 | Eunsan Byeolsinje (1966), Yeongsanjae (1973), Jongmyo Jerye (1975) |
g | Traditional games, festivals, and practical and martial arts | 16 | Namsadang Nori (1964), Ganggang Sullae (1966), Gangneung Danoje (1967) |
Technology | Functions | Examples of Usage |
---|---|---|
Virtual reality (VR) | To create an environment that is extremely close to reality, stimulating the user’s senses and enabling the user to experience ‘virtual reality’ where s/he can interact with objects within the virtual reality with the help of devices | <Renoir exhibition—Scent of A Woman> at BonDavinci Museum, Galleria Foret, Korea |
Augmented reality (AR) | To enable a user to interact with virtual objects in reality | <Dinosaurs AR Zone> at National Science Museum, Korea |
Three-dimensional printing | To create three-dimensional objects and to enable small quantity batch production | Creation of clothes and accessories at Daegu Textile Museum |
Internet of Things (IoT) | To embed communication systems in computer objects to connect and communicate with/between objects with intelligence | Smartphone app using Beacon technology for Seoul Museum of History |
Big data | To collect and manage data on a large scale, providing databases for artificial intelligence’s machine learning | Big data analysis on Hangeul (Korean language) by National Hangeul Museum |
Artificial intelligence (AI) | To express, infer, and manage knowledge, realising smartification in various service environments | “QI”, an AI robot with IoT function introduced in the National Museum of Korea |
Cloud computing | To enable a user to work online on the basis of server system, regardless of time and place | VR museum based on cloud computing platform for Gongju National Museum |
Scene | Screen Play | User’s Action | Reaction and Interaction | Required Technologies |
---|---|---|---|---|
Beginning (Scene #0) | User puts HMD on. | The VR begins. | HMD, screen display | |
Scene #1 | Jultagi holder (virtual character) appears to explain the history and value of Jultagi. | User listens to the brief introduction. | Audio and visual impacts | |
Scene #2 | Holder performs Jultagi in a slow version. | User chooses points of view to watch the performance from various angles. | System adjusts points of view | Hand controller, focusing |
Scene | Screen Play | User’s Action | Reaction and Interaction | Required Technologies |
---|---|---|---|---|
Jultagi stage for training (Scene #3~5) | Holder shows how to keep his balance, and demonstrates skills (e.g., Kochagi (stretching one’s leg towards nose), Chaeksangdari (cross-legged sitting)). | User follows the movements step by step. | Wearable device recognises the locations and positions of arms and legs. Holder corrects the user’s movements. | Hand controller, wearable device with gyro sensor, motion recognition. |
Scene | Screen Play | User’s Action | Reaction and Interaction | Required Technologies |
---|---|---|---|---|
Jultagi stage in a conventional market (Scene #6) | User stands next to the rope, surrounded by virtual characters (assistant clown, musicians and the crowd). | The climbs up the stairs, and begins to move forward, trying out the tricks. | The wearable device recognises the user’s location and position. The point of view is adjusted as the user climbs up the rope and moves forward on the rope. | adjusting point of view wearable device with gyro sensor, audio impact, focusing |
Scene #7 | Characters clap, cheer, and speak to the user. | The user responds by answering or by moving his/her body. | The wearable device recognises the user’s location and position. The point of view is adjusted as the user climbs up the rope and moves forward on the rope. The user and the audience communicate back and forth. | wearable device with gyro sensor, audio impact, mic |
Ending (Scene #8) | At the end of the rope. | User slowly comes down the stairs and takes the HMD off. | The VR ends. |
Scene | Screen Play | User’s Action | Reaction and Interaction | Required Technologies |
---|---|---|---|---|
Beginning | User puts HMD on. | The VR begins. | HMD | |
Daemokjang holder (virtual character) appears to explain the history and value of Daemokjang. | User listens to the brief introduction. | Audio and visual impacts | ||
Work space with holder | Holder explains and shows how to process woods to create components for traditional Korean buildings. | User watches the movements and learns how to move the hand controllers. | Audio and visual impact | |
Holder gives one-to-one training on each skill to process materials (e.g., cutting, trimming, carving). | User uses hand controllers to follow the movements. | System recognises the movements. Holder gives one-to-one training on how the user should move hands and arms. | Hand controller, motion recognition | |
Holder demonstrates how to join the components. | User follows the movements step by step to join the components to complete a structure. | System recognises user’s movement. The material is completed accordingly. Additional training by the holder is given. | Hand controller, motion recognition | |
Work space with other workers | The scene changes to the work space where other craftsmen and carpenters (virtual characters) are working with raw materials. | The user watches and hears them working on their parts. | Audio and visual impact | |
Options appear on which part of which building to work on. | The user chooses which part of which building to work on. | Holder appears to give directions on how to process the raw materials. | Hand controller or HMD button | |
Raw woods and tools are provided. | User moves hand controllers to process the woods. | The material is processed accordingly. Holders give directions on the user’s movements | Hand controller, motion recognition | |
Holder gives directions how to join the materials. | User moves hand controllers to join the components. | The components are joined accordingly. Texts explain the principles and fundamentals of joining them. | Hand controller, motion recognition | |
Work space alone | Tools and raw woods are provided. | User creates one’s own structure by processing and joining the materials. | The components are processed and joined accordingly. | Hand controllers, motion recognition |
Ending | The holder and other carpenters give (positive) evaluation on the user’s performance. | The user takes off the HMD. | The VR ends. |
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Kim, S.; Im, D.-u.; Lee, J.; Choi, H. Utility of Digital Technologies for the Sustainability of Intangible Cultural Heritage (ICH) in Korea. Sustainability 2019, 11, 6117. https://doi.org/10.3390/su11216117
Kim S, Im D-u, Lee J, Choi H. Utility of Digital Technologies for the Sustainability of Intangible Cultural Heritage (ICH) in Korea. Sustainability. 2019; 11(21):6117. https://doi.org/10.3390/su11216117
Chicago/Turabian StyleKim, Seulah, Dong-uk Im, Jongoh Lee, and Heejae Choi. 2019. "Utility of Digital Technologies for the Sustainability of Intangible Cultural Heritage (ICH) in Korea" Sustainability 11, no. 21: 6117. https://doi.org/10.3390/su11216117