The purpose of this study is to examine the direction of welfare policy reflecting the characteristics of local artists, centered on Gwangju. First, when defining local artists, it is necessary to define them based on the legal definition that stipulates specific support targets, and to limit artists to residents of the area regardless of the period of residence. Next, as a result of analyzing the status of artists in Gwangju, the weaknesses are low proportion of new artists, high ratio of full-time artists and very poor employment situation, low income from artistic activities, economic difficulties, and lack of support projects. Based on these results, this study suggests the following in the direction of Gwangju's artist welfare policy: expanding the scope of recognition of artists' qualifications, protecting new artists, supporting two tracks that differentiate between regular and non-regular artists, promoting support projects directly related to artistic activities, and enlargement and improvement of support projects.

The purpose of this study is to shed light on the sound environment of the area around Myeonangjeong Pavilion in Damyang in the 16th century through the analysis of the soundscape shown in Myeonangjeong Samsipyeong, and to consider how poets recognized and expressed it in various ways. Excluding the cases where the title already includes the soundscape element and the same element is repeated in the poem, the soundscape element appears a total of 36 times in these poems, and among them, natural sounds were absolutely numerous in 28 times. The sound of wind (15 times) and the sound of water (9 times), which showed the highest frequency, are the dominant sounds that are constantly and evenly heard in these poems, and can be said to be keynote sounds of the region. Because of its comfort and harmony with other sensory environments, this soundscape is accepted as an ideal sound environment for poets. This soundscape, in terms of focus and clarity, is characteristic of a hi-fi environment where the ground can easily be inverted into the figure and individual sounds are heard very clearly.

The purpose of this study is to examine what Claude-Joseph Vernet tried to realize by vividly evoking auditory images in his marine paintings and what it means through the analysis of the soundscapes in these paintings. As a result of analyzing 141 pieces of this artist's marine paintings, which are classified into three themes of 'storm', 'calm', and 'French harbor', a total of 1,302 elements of soundscape appeared, and these created images of 'disaster' in the theme of 'storm', 'invitation to a journey' in the theme of 'calm', and 'prosperity' in the theme of 'French harbor', thus confirming the perception that Vernet's contemporaries had about the sea. These research results allow us to interpret the artist's marine paintings more broadly from the perspective of the sea itself, rather than looking only at Edmund Burke's concept of the sublime, like Denis Diderot.

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