지지씨 기관 회원 가입 안내
경기도내에 위치한 국공사립 문화예술기관, 박물관, 미술관, 공연장 등 도내의
문화예술 소식과 정보를 발행해주실 수 있는 곳이라면 언제든지 환영합니다.
지지씨 기관 회원은 지지씨 콘텐츠를 직접 올려 도민들과 더욱 가까이 소통할 수 있습니다.
기관에서 발행하는 소식지, 사업별 보도자료, 발간도서 등 온라인 게재가 가능하다면 그 어떠한 콘텐츠도 가능합니다.
지지씨를 통해 더 많은 도민에게 기관의 사업과 콘텐츠를 홍보하고, 문화예술 네트워크를 구축하세요.
지지씨 기관 회원으로 제휴를 희망하는 기관은 해당 신청서를 작성하여 메일로 제출바랍니다.
지지씨 기관 회원 혜택
신청서 작성 및 제출안내
경기 문화예술의 모든 것, 지지씨는
기관 회원 분들의 많은 참여를 기다립니다.
지지씨플랫폼 운영 가이드
지지씨는 회원 여러분의 게시물이 모두의 삶을 더욱 아름답게 해 줄 거라 믿습니다. 경기문화재단은 여러분이 작성한 게시물을 소중히 다룰 것입니다.
제1조(목적)
본 가이드는 재단법인 경기문화재단의 ‘온라인 아카이브 플랫폼 지지씨(www.ggc.ggcf.kr. 이하 ‘지지씨’)’의 기관회원(이하 ‘회원’)의 정의 및 권리와 의무를 규정하고, 회원의 생산자료에 관한 기록 저장과 활용에 관한 내용을 규정함을 목적으로 합니다.
제2조(정의)
본 가이드에서 사용하는 용어의 정의는 다음과 같습니다.
① ‘지지씨’는 경기도 소재 문화예술기관의 생산자료 등록과 확산을 위해 경기문화재단이 운영하는 온라인 아카이브 플랫폼입니다.
② ‘회원’이란 소정의 가입 승인 절차를 거쳐 지지씨 글쓰기 계정(ID)을 부여받고, 지지씨에 자료 등록 권한을 부여받은 경기도 소재 문화예술기관 및 유관기관을 의미합니다.
‘생산자료(=콘텐츠)’란 ‘회원’이 지지씨 플랫폼 상에 게재한 부호, 문자, 음성, 음향, 그림, 사진, 동영상, 링크 등으로 구성된 각종 콘텐츠 자체 또는 파일을 말합니다.
제3조(가이드의 게시와 개정)
① 경기문화재단은 본 가이드의 내용을 ‘회원’이 쉽게 알 수 있도록 지지씨 플랫폼의 기관회원 등록 안내 페이지에 게시하여, 자유롭게 내려받아 내용을 확인할 수 있도록 합니다.
② 본 가이드는 경기문화재단의 온라인 플랫폼 운영 정책 및 저작권 등 관련 법규에 따라 개정될 수 있으며, 가이드를 개정, 적용하고자 할 때는 30일 이전에 약관 개정 내용, 사유 등을 '회원'에 전자우편으로 발송, 공지합니다. 단, 법령의 개정 등으로 긴급하게 가이드를 변경할 경우, 효력 발생일 직전에 동일한 방법으로 알려 드립니다.
1. 본 가이드의 개정과 관련하여 이의가 있는 ‘회원’은 탈퇴할 수 있습니다.
2. 경기문화재단의 고지가 있고 난 뒤 효력 발생일까지 어떠한 이의도 제기하지 않았을 경우, 개정된 가이드를 승인한 것으로 간주합니다.
제4조(회원자격 및 가입)
① ‘지지씨’의 ‘회원’은 경기도 소재 문화예술기관과 유관기관으로 합니다. ‘회원’은 글쓰기 계정을 부여받은 후 지지씨에 생산자료를 등록하거나, 게시를 요청할 수 있습니다.
② ‘지지씨’의 가입 신청은 지지씨 누리집에서 가능합니다. 회원가입을 원하는 기관은 계정 신청서를 작성, 가입 신청을 할 수 있습니다.
1. 회원가입을 원하는 기관은 지지씨에서 내려받기 한 ‘온라인 콘텐츠 플랫폼 지지씨 계정 신청서’를 지지씨 공식 전자메일(ggc@ggcf.kr)로 제출, 승인 요청을 합니다.
2. 한 기관에 발급되는 계정은 부서별/사업별로 복수 발급이 가능합니다. 단, 사용자 편의 등을위해 기관 계정 관리자 1인이 복수 계정의 발급을 신청한 경우, 승인 불가합니다.
3. ‘회원’ 계정은 신청인이 속한 기관명/부서명/사업명 등의 한글로 부여됩니다.
4. ‘회원’은 계정 발급 후 최초 로그인 시 비밀번호를 변경합니다.
5. 계정의 비밀번호는 가입 승인된 계정과 일치되는 ‘회원’임을 확인하고, 비밀 보호 등을 위해 ‘회원’이 정한 문자 또는 숫자의 조합을 의미합니다.
③ ‘지지씨’ 가입 신청 방법은 내부 방침에 따라 변경될 수 있으며, 가입 신청에 관한 구체적인 내용은 지지씨 누리집에서 확인할 수 있습니다.
④ 경기문화재단은 다음 각호에 해당하는 신청에 대하여 승인 불허 혹은 사후에 계정을 해지할 수 있습니다.
1. 과거 회원자격 상실 회원. 단, 경기문화재단과 회원 재가입 사전 협의, 승인받은 경우는 예외로 함
2. 정보의 허위 기재, 저작권 등 관련 법률을 위반한 저작물 게시 등 제반 규정을 위반한 경우
⑤ ‘회원’은 회원자격 및 지지씨에서 제공하는 혜택 등을 타인에게 양도하거나 대여할 수 없습니다.
⑥ ‘지지씨’는 계정과 생산자료의 효율적인 관리를 위해 〔별표〕에 따라 ‘회원’을 구분합니다. 회원 구분에 따른 이용상의 차이는 없습니다.
제5조(회원 정보의 변경)
① ‘회원’은 언제든지 가입정보의 수정을 요청할 수 있습니다. 기관명, 부서명 등의 변경에 따른 계정 변경도 가능합니다. 단, 계정 변경시에는 계정(신청/변경)신청서를 다시 작성, 제출해야 합니다.
② ‘회원’은 계정 신청 시 기재한 사항이 변경되었을 경우 전자우편 등 기타 방법으로 재단에 대하여 그 변경사항을 알려야 합니다.
③ 제2항의 변경사항을 알리지 않아 발생한 불이익에 대하여 재단은 책임지지 않습니다.
제6조(회원 탈퇴 및 정지‧상실)
① ‘회원’은 지지씨 공식 전자메일, 전화 및 경기문화재단이 정하는 방법으로 탈퇴를 요청할 수 있으며 경기문화재단은 ‘회원’의 요청에 따라 조속히 탈퇴에 필요한 제반 절차를 수행합니다.
② ‘회원’이 탈퇴할 경우, 해당 ‘회원’의 계정 및 가입 시 작성, 제출한 개인정보는 삭제되지만, 탈퇴 이후에도 등록자료는 ‘지지씨’에서 검색, 서비스됩니다.
③ ‘회원’ 탈퇴 후에도 재가입이 가능하며, 탈퇴 전과 동일한 아이디를 부여합니다.
제7조(생산자료의 게시와 활용)
① ‘회원’은 글쓰기페이지(www,ggc.ggcf.kr/ggcplay/login)를 통해 계정의 아이디와 비밀번호를 입력, ‘지지씨’에 접속합니다.
② ‘회원’은 ‘지지씨’ 에디터 프로그램을 활용하여 해당 기관의 문화예술 관련 자료를 게시 및 수정, 삭제할 수 있습니다. 단, 사업의 일몰, 기간의 종료, 추진부서의 변경 등의 사유로 삭제는 불가합니다.
③ ‘회원’은 ‘지지씨’에 게시한 해당기관의 자료를 뉴스레터, SNS 등 온라인 매체로 확산, 활용할 수 있습니다. 단, 타기관의 자료를 사용하는 경우 사전 사용 협의 및 출처를 밝혀야 합니다.
④ ‘회원’의 게시물은 도민 문화향수 확산을 위해 출처를 밝히고 뉴스레터나 SNS 등의 채널에 가공 없이 활용될 수 있습니다.
제8조(회원의 아이디 및 비밀번호의 관리에 대한 의무)
① ‘회원’의 아이디와 비밀번호에 관한 관리책임은 ‘회원’에게 있으며, 이를 제3자에게 제공할 수 없습니다.
② ‘회원’은 아이디 및 비밀번호가 도용되거나 제3자가 사용하고 있음을 인지한 경우, 이를 즉시 경기문화재단에 알리고 재단의 안내를 따라야 합니다.
③ 본조 제2항의 상황에 해당하는 ‘회원’이 경기문화재단에 그 사실을 알리지 않거나, 알린 경우라도 경기문화재단의 안내에 따르지 않아 발생한 불이익에 대하여 경기문화재단은 책임지지 않습니다.
제9조(회원의 개인정보 보호에 대한 의무)
① 경기문화재단은 지지씨 계정 신청시 수집하는 개인정보는 다음과 같습니다.
1. 계정 관리자 이름 2. 사무실 연락처 3. 담당자 전자메일
② ‘회원’의 개인정보는 「개인정보보호법」 및 경기문화재단 개인정보처리방침에 따라 보호됩니다.
③ 경기문화재단 개인정보처리방침은 ‘지지씨’ 누리집 하단에 공개하며, 개정시 그 내용을 ‘회원’의 전자메일로 알립니다.
제10조(사용자 권리 보호)
① ‘회원’의 게시물이 저작권 등에 위배될 경우 경기문화재단은 사전 협의나 통보 없이 바로 삭제조치합니다. 이와 관련한 분쟁은 「저작권법」 및 「공공기록물 관리에 관한 법률」 등을 따릅니다.
② 경기문화재단은 ‘회원’의 게시물이 타인의 권리를 침해하는 내용이거나, 관련 법령을 위배하는 등지지씨의 운영 정책에 부합되지 않는 경우, ‘회원’과 협의 없이 삭제할 수 있습니다.
‘지지씨’의 게시물로 기관의 명예훼손 등 권리침해를 당하셨다면, 경기문화재단 지지씨멤버스의 고객상담(VOC)을 통해 민원을 제기할 수 있습니다. 이는 (사)한국인터넷자율정책기구(KISO)의 정책 규정을 따라 처리될 것입니다.
본 약관은 경기문화재단 대표이사의 승인을 얻은 날부터 시행됩니다.
대분류 | 외부기관 | 경기문화재단 |
---|---|---|
중분류 | 뮤지엄(박물관,미술관)/협회/문화예술공공기관/시군청 담당부서 등 | 본부/기관 |
아이디 | 사업부서명/사업명 | 사업부서명/사업명 |
글쓴이 노출 | 아이디와 동일(한글) | 아이디와 동일(한글) |
콘텐츠 등록/수정 요청
01. 콘텐츠 등록 및 수정 요청서 양식 다운로드
콘텐츠 직접 등록 및 수정이 어려우실 경우, 해당 요청서 양식을 다운로드 하신 후 작성하여
지지씨 관리자에게 등록·수정을 요청해주세요.
02. 콘텐츠 등록 및 수정 요청 안내
상단에서 다운로드하신 해당 요청서 양식 파일을 지지씨 관리자 이메일로 제출해 주세요.
경기문화재단
Common Urban Culture
Cultural Policy is a quarterly magazine published by the Gyeonggi Cultural Foundation since the summer of 2017 with the purposes of identifying new trends in cultural policies at home and abroad, gathering the opinions of experts in relevant areas, and introducing the directions and contents of diverse cultural policies promoted by Gyeonggi Provincial Government and Gyeonggi Cultural Foundation. |
Writer | Jiyeon Cho
Recent trends and issues are often focused on transforming the existing cities into ‘Smart cities’ by forming a network of the cities’ public functions. Meanwhile, the issue of ‘Regeneration,’ which is a cultural process of involving citizens, would be local culture or the city itself that is enabled by residents’ interest in society and their increased participation. This leads to expectations for how to publicly connect a city’s open space and activities and how to make them accessible. In an attempt to study relevant cases abroad, a delegation of GyeongGi Cultural Foundation’s Culture and Arts Headquarters (Six persons from the Culture and Arts Promotion Team, Local Intermedia Team (Sangsang Campus), GyeongGi Northern Culture Initiatives and Management Support Team) visited Amsterdam and Helsinki for ten days from August 28 to September 6, 2017.
Rather than emphasizing technical aspects, this visit was focused on finding planners who create
community culture and small differences and factors that led to spreading their networks
and movements. We conducted preliminary research to study local projects with the following
keywords: city, technology, citizens, space, design and publicness. We then met with local planners
to have interview with them.
We interviewed organizations that are motivated by social issues to involve people: Repair Cafe, Yhteismaa, Free house and Cascoland. This paper elaborates on their activities. We also interviewed spaces where artists, innovators and technology developers stay to prepare for the future: Kappeli. Fiskars Village and Design Factory. In addition, we visited museums, art centers and cultural complexes: Korjaamo Culture Factory, Annatalo Arts Center, Helsinki Design Museum and Westergasfabriek. Above all, we tried to understand how the organizations came to lead cultural activities that have great value and special issues and how they are run. This visit served as an occasion to reflect on planners’ role once again and to reaffirm Gyeong- Gi Cultural Foundation’s vision supporting the social changes and movements they have led.
Yhteismaa
Yhteismaa is a nonprofit organization that was founded in 2012 to pursue new participatory urban culture, co-production and social changes. The organization is better known as ‘Restaurant Day’ and ‘Dinner under the Sky.’ At ‘Dinner under the Sky,’ vehicles are controlled in Esplanadi, Helsinki and a 500-meter table is ready for 1,000 people who bring and share food for dinner. This event started by celebrating Helsinki’s birthday on June 12, 2013. On this occasion anyone can put smaller tables everywhere in Helsinki including parks to participate in this event. The activity of sharing food in public space began in May 2011 with Restaurant Day. Designed to help people share their food and daily life during a day on the street, this food festival’s small movement is now going beyond the Scandinavian Peninsula to reach the world.
However, if this occasion is seen as a festival or event, it would not seem to be very special to Korea, which organizes a great number of big festivals. Public space can be planned and controlled in order to enrich leisure activities and to improve a local community’s quality of life. In this context, Yhteismaa’s events are interesting in that they help people understand that they are leaders of public space. They actually occupy the space temporarily and all of them participate in the same daily activities.
@Yhteismaa
To find out the organization’s goal, meaning and secrets behind its expansion, we had conversation with Pauliina Seppala, founder of Yhteismaa. The name of the organization ‘Yhteismaa’ means ‘common’ in Finnish. As the name implies, the organization pursues a sense of responsibility to lead one’s own city, community life shared with everyone and environmental value. Its projects share the purpose of social and urban life which is about having more fun, being free, being sustainable and taking responsibility. ‘Clean Day’ (Siivous Paiva in Finnish) also transforms the entire city into a huge marketplace crowded with thousands of people. On this occasion, people can sell anything including clothes, books and even their special techniques anywhere including streets, parks, vacant lots and their houses. Sellers register the products they will sell and selling venues on the event’s website. Buyers then find the venues where they can buy what they want, thanks to a map provided by the event’s smartphone application or website. What is notable is the fact of the activeness of participants connecting every corner of Helsinki. ‘Restaurant Day’, ‘Clean Day’ and ‘Dinner under the Sky’ are neither events nor projects run by experts for the public. Instead, participants’ active role contributes to creating urban culture. Just as in the recent case of “living labs” that enable users to participate in the innovative activities of their local community and society, users are required to play more active roles.
Then, what is the source of the solidarity and sense of belonging of unspecified individuals who participate in the events run by Yhteismaa? The interview let us understand that such solidarity is based on social media in which people participate voluntarily. Pauliina ran an online platform from 2010. This was a crowdfunding platform in the field of arts and culture and it enabled many people to network through social media called mahdollista. Such networking through the online platform continued afterward. That may because Seppala has actively used an online platform for each project. For example, participants indicate spots on the map themselves. What is meaningful is to communicate and share interests through a mobile system. After Dinner under the Sky, Seppala began to plan and run another platform called “nappi naapuri” (meaning “neighbor”). This website, which gathers together neighbors influencing the city of Helsinki, has attracted 10,000 visitors who registered. They can know their neighbors and they have meetings around their neighborhood. Such small meetings in Helsinki will also become special when people are connected through social media to occupy public space and to share personal, daily experience with everyone.
Repair Cafe
A Repair Café is a local community space to which people bring anything broken, serving as a technological model for community cooperation. The space is forming a culture of voluntary repair. It started in Amsterdam, the Netherlands and spread throughout the world. Their number now reaches about 1,371. Before visiting the Repair Café Foundation, we visited one of the Repair Cafés.
When we went into a Repair Café located at Huis van de Wijk, people were having a meeting for the repair of electronic products (11 a.m. to 1 p.m. on Mondays). Some of them were repairing a radio that wasn’t working and others were repairing cloth with a sewing machine. Those who weren’t working were just talking to each other over a cup of coffee. They seem to have nothing special. Most of the volunteers are the elderly. Five among them are voluntarily serving their community with different repair techniques. This café, where they repair clothes, furniture, electronic products, bicycles, toys and so on, needs only a million won to run the space. A Repair Café’s table has different kinds of equipment and its cabinets also have tools and equipment. They either bring their own tools or they share them.
The cafe’s founder Martine Postma was once shocked when she saw usable objects thrown away on the street. She then started thinking, “Is it helpful or wasteful for economy to boost consumption?” It was the beginning of the Repair Café. Transforming herself from an environmental journalist to a social innovator, she noted the fact that local communities have many retirees engaging in voluntary activities. She then started gathering together those who joined her to found the Repair Café with three purposes: easy, fun and cheap. Martine says that the café has been a success because people can not only have fun but also they find the café useful. Consequently, the café connects people and helps them solve problems together. Those who don’t want to throw out things constitute a driving force behind the successful management of the café. Martine emphasizes that their voluntary participation is important.
@Martin WaalboerRepair Cafe International Foundation
With a goal of making itself accessible in local communities, a Repair Café can be opened by anyone and run independently and autonomously. Its management is easy because café members are just required to have monthly meetings and submit simple reports. To run a Repair Café, you need to buy a manual kit for the Repair Café which is 49 euros. No interview or paper work is needed to become a member of the Repair Café and run the space. What is notable is the kit’s manual which is translated into eleven languages. This manual provides a detailed explanation on how to run the café so even beginners find it easy to follow it. The kit’s information is as follows: purpose of the café, locational conditions, management principles including publicness, different categories of tools needed for the space, method of recruiting volunteers with repair techniques, guide to serving visitors, making posters and where to put them and media promotion process. However, if it is easy for anyone to open a café, it would also be easy to close it. We thus asked Martine if there have been cases of closing or dissolution. She said that there were some cases. For example, when a member of the café cannot find volunteers with repair techniques or if he or she faces locational problems or internal disputes, the member needs to decide if he or she will continue to run the café. In such cases, the Repair Café Foundation serves as a mediator. No monitoring or control exists between the Repair Café Foundation individual cafés. Consulting on the café’s manual and exchange of ideas take place on Facebook and the Repair Café’s website. The Repair Café’s future vision is to add more cafés (1,371 cafés currently), repairable items (coffee machine, bicycle, radio, etc.) and technicians. Its long-term plan is to join elementary education and its ultimate goal, to make a sustainable society.
Just like Yhteismaa, a planner’s role at the Repair Café is to create concepts and values needed by society and spread them. Yhteismaa’s direct point is to take responsibility in leading one’s city. In the same vein, the Repair Café, which pursues ease and fun, also seems to have found a good connecting point where people are linked to each other to solve problems together. Although the two organizations may differ in terms of how to implement their projects, what they have in common is the fact that there isn’t any artificial planning or selection process. It is up to participants to build on a process to make a project concrete. What we observed in the two cases is the connecting point where they involve voluntary participants. The relationship between the planner and participants is horizontal and interactive. Such a relationship is also found in intermedia’s attitude of communicating with a local community illustrated by the following two cases.
Freehouse and Cascoland
Starting with projects led by groups of artists, Freehouse and Cascoland have served as spaces for local residents’ activities for ten and eight years respectively. They are located in an multinational area of Rotterdam and immigrants’ zone in northwestern Amsterdam respectively. Freehouse was launched in 2008 with a project led by the artist Jeanne van Heeswijk. In 2012, it began to be connected to the local community and to collaborate with local residents in earnest in 2012 with a project called the Market of Tomorrow, thus becoming Rotterdam’s first cooperative. It doesn’t mean that Freehouse changed its structure to that of a cooperative but that it took the lead in growing into a cooperative called AFRI KAANDER which encompasses the entire local community. It was funded for several years but since 2014, it has been run with its own revenue. Local women led the management of their neighborhood kitchen, thus contributing to the organization’s expansion to community business with their catering service. Meanwhile, men participated in collecting recyclable waste and consequently, 57 men came to find new jobs.
The artist figured out the problem was that the local market didn’t have a variety of items to buy, leading to its deterioration. It was thus urgent to make strategic points out of agoratype and multiethnic marketplaces in order to strengthen diversity and invigorate them. The artist then collaborated with another artist to change the local market’s kiosks and to have a fashion show beside a clothes store, thus attempting to transform the market into a place with something to see. The artist also ran a neighborhood handicraft workshop using sewing machines and cloth. As she came to attract participants of the workshop, she collaborated with a professional designer to display products made in collaboration with local residents. A uniform was also made for the workshop.
"Just like Yhteismaa, a planner’s role at the Repair Café is to create
concepts and values needed by society and spread them.
Yhteismaa’s direct point is to take responsibility in leading one’s city.
In the same vein, the Repair Café, which pursues ease and fun,
also seems to have found a good connecting point where people are linked
to each other to solve problems together. Although the two
organizations may differ in terms of how to implement their projects,
what they have in common is the fact that there isn’t
any artificial planning or selection process.
It is up to participants to build on a process to make a project concrete."
After launching an intervention project regarding artistic involvement as cultural development, the artist expanded it to different stores worth collaborating with such as the handicraft workshop and kitchen, generating socioeconomic effects. The artist took the lead in transforming personal spaces into public ones to make them visible.
Another example is Cascoland. It was launched in 2010, when the Netherlands faced a financial crisis and stopped growing. Under these circumstances, the country had to deal with a stagnant real estate market in northwestern Amsterdam. The city then requested this project in order to revitalize this area. The space was rented from a construction company for free to communicate with the local community. Architects, artists and designers came together and presented flash mobs and performances in an attempt to raise public awareness. In this research process, they had to understand how people were living and what the area’s characteristics were. Afterward, they decided to ‘redesign’ the area to encourage people to use it. For example, they showed a performance where they put a bed on an unsafe street and slept on it comfortably. They also installed a teahouse structure on the street in order to create a new venue of negotiations. They also made a movable garden and kitchen to communicate with people in public space. Such performances lead to changing residents’ perspective. They made use of sites that had been abandoned in immigrants’ residential area in order to transform them into public ones. Listening to residents’ opinions, they used the space to grow vegetables and chickens and to make it part of their common assets. The artist, who felt the limits of communicating through workshops earlier, decided to go out on the street holding signs and to share ideas with local residents in person. Asked about the secret behind such trust from the city, the artist answered, “Enthusiastic support from citizens.” The artist is making constant efforts to motivate and coordinate local residents because the project may be stopped sometime in the future. The artist said that mothers and women serve as local mediators and constitute a global hub. Sometimes, intervention in the local community can be seen as expanding into the social and local economic area by linking people to people and creating another communication with the region.
The projects mentioned above are sponsored by an institution called DONE Foundation. Established in 1991, this foundation is a sponsoring institution located in Amsterdam. It is run with three lottery funds (Nationale Postcode Loterij, Bank Giro Loterij and Vrienden Loterij). The foundation divides the teams it supports into three categories: green, social and creative teams. As of 2015, the foundation supports about 273 teams with about 32,389,587 euros. The ‘creative’ category is divided again into detailed programs: global culture and media, culture’s social role and social design. There is no artistic field focused on genres and most of the foundation’s support is focused on social activities. In other words, the foundation regards ‘social activities’ as society’s ‘culture.’ Thus, what matters is the artistic method with which an already existing local community functions, communicates or expresses itself. It was impressive to view all social activities, which include creation, economy, innovation and experiment, as something to foster. The vision of the foundation, which supports all of this, showed the confidence of using public space. Social activities that are activated under these circumstances seem to create a ‘shared urban culture.’
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Writer/ Jiyeon Cho, Manager of Local Intermedia Team at GyeongGi Cultural Foundation